THIS CATALOG APPLIES TO ACADEMIC YEAR 2016/2017: OCTOBER 1, SEPTEMBER

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2 MISSION STATEMENT Musicians Institute is dedicated to inspiring artistic and academic excellence while preparing students for careers in the music and entertainment industry. Our cutting-edge educational offerings provide the information, skills and expertise necessary for musicians and creative professionals to achieve their goals. We strive to develop a diverse array of talented individuals who can enrich the global community with their artistic contributions.

3 NOTICE As a prospective student, you are encouraged to review this catalog prior to signing an enrollment agreement. It is the responsibility of the student to know and adhere to the policies and rules included in this catalog. You are also encouraged to review the School Performance Fact Sheet, which must be provided to you prior to signing an enrollment agreement. Musicians Institute does not have a pending petition in bankruptcy, is not operating as a debtor in possession, has not filed a petition within the preceding five years, or has not had a petition in bankruptcy filed against it within the preceding five years that resulted in reorganization under Chapter of the United States Bankruptcy Code ( U.S.C. Sec 0 et seq.) FACULTY QUALIFICATIONS In keeping with Musicians Institute s mission, MI recognizes the importance of real-world music industry experience and academic credentials in our teaching positions. In order to provide students with the most current and competitive skill set and career preparation, MI weighs both professional experience and academic accomplishments when evaluating the assets of potential faculty members. APPROVAL AND ACCREDITATION Musicians Institute is a private institution that is approved to operate in the State of California by the Bureau for Private Postsecondary Education. Such approval to operate requires compliance with state standards as set forth in the Ed. Code. MI has been an accredited institutional member of the National Association of Schools of Music since 98. The National Association of Schools of Music is recognized by the United States Department of Education (USDE). ACCURACY OF INFORMATION Information in this catalog is accurate as of the date of printing/publication. Catalogs are updated and published on an annual basis. MI reserves the right to revise or cancel the programs, courses, activities, or services described herein without prior notice. Applicants are advised to confirm their availability prior to enrollment. At all times, the information contained in the digital/online version of the catalog takes precedence over this printed version. Please refer to the index of addenda to this catalog at the end of the online version for information and updates. This catalog is available to students, members of the public, and interested parties via the MI website: mi.edu/ musicians-institute-course-catalog/, by request to MI Admissions (admissions@mi.edu), or by calling MI at (800) In addition to the above, students are provided digital access to the course catalog during their initial enrollment/registration process, and on an annual basis during subsequent registration periods. NO GUARANTEE OF EMPLOYMENT While Musicians Institute provides no guarantee that employment will result from attending or completing any program offered by the institution, we are dedicated to assisting students in finding professional opportunities. For more information on our Artist Support Center (formerly known as Career Development Office), visit For more information about our graduation rates, the median debt of students who completed the program, and other important information, please visit our website at: QUESTIONS AND COMPLAINTS Students are encouraged but not required to refer any questions or complaints regarding this catalog to Musicians Institute. At any time, students may contact the Bureau for Private Postsecondary Education at: The Bureau for Private Postsecondary Education 535 Capitol Oaks Drive, Suite 00 Sacramento, CA Website: Toll free: (888) / Phone: (96) Fax: (96) A student or any member of the public may file a complaint about this institution with the Bureau for Private Postsecondary Education by calling (888) (tollfree) or by completing a complaint form, which can be obtained on the bureau s website: National Association of Schools of Music 50 Roger Bacon Drive, Suite Reston, Virginia Telephone: info@arts-accredit.org CONTACT MUSICIANS INSTITUTE 675 Hollywood Blvd. Hollywood, CA 9008 Toll free: (800) Local: (33) 6-38 Web: THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 3

4 TABLE OF CONTENTS MISSION STATEMENT NOTICE ACADEMIC CALENDAR 6 CERTIFICATE & DEGREE OVERVIEW 8 NON-CERTIFICATE OVERVIEW CERTIFICATE Entertainment Industry Studies Audio Engineering 5 DJ Performance & Production 8 Guitar Craft 0 Independent Artist Development Music Business Performance Studies Bass 6 Drum 8 Guitar 30 Keyboard Technology 3 Vocal 36 ASSOCIATE DEGREES 38 Associate of Art in Performance Bass Drum Guitar 8 Keyboard Technology 5 Vocal 60 Associate of Science in Music Business 6 BACHELOR OF MUSIC DEGREE 68 Bachelor of Music in Composition 70 Bachelor of Music in Performance Bass 7 Drum 7 Guitar 76 Keyboard 78 Vocal 80 NON-CERTIFICATE 8 Summer Shot 8 MI Select & MI Select Express 8 Pro Tools Certification 85 CAMPUS 87 Main Complex 9 Audio Engineering Studios 9 Independent Artist Studios 93 Production Labs 93 Production Studios 9 Instrument Specific Studios 9 Counseling and Practice Facilities 9 Music Library 9 Player s Supply Store 95 Artist Lounge 95 COURSE DESCRIPTIONS Entertainment Industry Studies Audio Engineering 0 DJ Performance & Production 05 Guitar Craft 08 Independent Artist Development 0 Music Business 3 Performance Studies Bass Drum 7 Guitar 33 Keyboard Technology 0 Vocal Bachelor of Music Bachelor of Music in Composition 50 TABLE OF CONTENTS Bachelor of Music in Performance 55 Bass 60 Drum 6 Guitar 6 Keyboard 63 Vocal 6 Common Course 6 ADMISSIONS 70 TUITION & FEES 76 FINANCIAL AID 80 ARTIST SUPPORT CENTER 86 POLICIES 90 ADMINISTRATION 07 FACULTY BIOS 08 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 5

5 ACADEMIC CALENDAR ACADEMIC CALENDAR FALL QUARTER SPRING QUARTER Re-Registration August 5 - September 3 August - September 9 August 0 - September 8 Re-Registration February 0 - March 3 February 9 - March 30 New Student Registration September 9-30 September 5 - October 5 September - October New Student Registration March 7 - April 6 March 6 - April 5 New Student Orientation September 9 October 5 October New Student Orientation April 6 April 5 Financial Aid Application Deadline Week prior to registration Week prior to registration week prior to registration Financial Aid Application Deadline Week prior to registration week prior to registration Quarter Begins October 3 October 9 October 8 Quarter Begins April 0 April 9 *Thanksgiving Break November - 5 November 3 - November - 3 *Memorial Day May 9 May 8 Final Exams December - 6 December 8 - December 7 - Final Exams June 9-3 June 8 - June Graduation December 7 December 3 December Graduation June June 3 Quarter Break December 7 - January 8 December 3 - January 7 December - January 6 Quarter Break June - July 9 June 3 - July 8 WINTER QUARTER SUMMER QUARTER Re-Registration November 3 - December November 0 - December 8 Re-Registration May - June 30 May - June 9 New Student Registration December 9 - January 5 December 7 - January New Student Registration June 6 - July 6 June 5 - July 5 New Student Orientation January 5 January New Student Orientation July 6 July 5 Financial Aid Application Deadline Week prior to registration week prior to registration Financial Aid Application Deadline Week prior to registration week prior to registration *New Year s Day January January *Independence Day July July Quarter Begins January 9 January 8 Quarter Begins July 0 July 9 *Martin Luther King Day January 6 January 5 *Labor Day September September 3 Final Exams March 0- March 9-3 Final Exams September 8 - September 7 - Graduation March 5 March Graduation September 3 September Quarter Break March 5 - April 9 March - April 8 Quarter Break September 3 - October 8 September - October 7 *School Closed 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 7

6 CERTIFICATE & DEGREE OVERVIEW QUARTER CERTIFICATE ENTERTAINMENT INDUSTRY STUDIES PERFORMANCE STUDIES ASSOCIATE DEGREES BACHELOR OF MUSIC DEGREES CERTIFICATE School of Industry Studies Audio Engineering, DJ Performance & Production, Guitar Craft, Independent Artist Development, or Music Business School of Performance Studies Bass, Drum, Guitar, Keyboard Technology or Vocal ASSOCIATE DEGREES Associate of Arts in Performance Bass, Drum, Guitar, Keyboard Technology or Vocal Associate of Science in Music Business BACHELOR OF MUSIC DEGREES Bachelor of Music in Composition (Scoring for Visual Media) Note: For transfer details, please speak with your Admission Advisor or refer to the Transfer section. Published program lengths are based on optimal course load at units per quarter for Bachelor Programs; 5 units per quarter for Certificate and Associate Programs. Bachelor of Music in Performance (Contemporary Styles) Bass, Drum, Guitar, Keyboard, or Vocal 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 9

7 CERTIFICATE & DEGREE BREAKDOWN CERTIFICATE & DEGREE BREAKDOWN QUARTER CERTIFICATE School of Industry Studies Audio Engineering, DJ Performance & Production, Guitar Craft, Independent Artist Development or Music Business 30 CREDITS* School of Industry Studies Audio Engineering // Post Production Audio Audio Engineering // Live Sound Production Guitar Craft // Acoustic Guitar Design Music Business // Entrepreneur 5 CREDITS* Performance Studies Bass, Drum, Guitar, Keyboard Technology or Vocal 60 CREDITS* ASSOCIATE DEGREES Associate of Arts in Performance Studies Bass, Drum, Guitar, Keyboard Technology or Vocal // Combined Emphasis Bass, Drum, Guitar, Keyboard Technology or Vocal Emphasis: Audio Engineering, DJ Performance & Production, Guitar Craft, Independent Artist Development or Music Business Associate of Science in Music Business 90 CREDITS* 90 CREDITS* BACHELOR OF MUSIC DEGREES Bachelor of Music in Performance (Contemporary Styles) Bass, Drum, Guitar, Keyboard or Vocal (Minor in Audio Production or Music Industry Studies**) 80 CREDITS* Bachelor of Music in Composition (Scoring for Visual Media) 80 CREDITS* Note: For transfer details, please speak with your Admission Advisor or refer to the Transfer section. *Published program lengths are based on optimal course load at units per quarter for Bachelor Programs; 5 units per quarter for Certificate and Associate Programs. **30 credits to complete a Minor in the B.M. These courses/credits can be taken and completed at any time. ***Double major in Bachelor of Music in Performance and Bachelor of Music in Composition. 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07.

8 NON-CERTIFICATE OVERVIEW NON-CERTIFICATE OVERVIEW WEEKS SUMMER SHOT Performance & Industry Studies MI SELECT EXPRESS MI SELECT PRO TOOLS CERTIFICATION Pro Tools 00 Level (User) Certificate Pro Tools 00 Level (Operator) Certificate WEEKENDS ONLY WEEKENDS ONLY SUMMER SHOT Performance & Industry Studies Bass, Drum, Guitar, Keyboard Technology, Vocal, Independent Artist Development, Recording, Guitar Building and more MI SELECT and MI SELECT EXPRESS Performance Studies Bass, Drum, Guitar, Keyboard Technology or Vocal PRO TOOLS CERTIFICATION Pro Tools 00 & 00 Level Certifications Classes are held on the weekends only THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 3

9 CERTIFICATE AUDIO ENGINEERING Through hands-on instruction, students learn to record, mix and master with industry standard equipment in preparation for the demands of working as an engineer in professional or projectbased recording studios. 30 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* COURSE CREDIT = 8 CREDITS Practical Recording Console Operation : Neve Console Operation : API Pro Tools 0 & 0 The Business of Audio Critical Listening Musicianship for Audio Engineers Mac Basics and Gear Set-Up Recording Theory Pro Tools 0 & 0M Console Operation : SSL Duality Mixing Essentials Intro to Live Sound Intro to Post Production Signal Processing 3 CERTIFICATE = CREDITS *Based on optimal course load of 5 credits per quarter THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 5

10 CERTIFICATE AUDIO ENGINEERING AUDIO ENGINEERING // POST-PRODUCTION AUDIO 5 CREDITS / 3 QUARTERS* Q+Q of this program are identical to the Certificate in Audio Engineering (see p. 6). Q3 EMPHASIS AUDIO-30 AUDIO-30 AUDIO-303 AUDIO-30 AUDIO-305 AUDIO-306 AUDIO-307 AUDIO-308 AUDIO-309 AUDIO-30 ADR, Voice Over, and Dialogue Forensics Video Game Audio Foley Editing Field Recording Mixing for Film and Television Music Editing Post Essentials Dialogue Editing Background & Sound FX Editing Console Op 3: Euphonix & Icon TOTAL 5 CERTIFICATE In addition to the Audio Engineering Certificate, students are trained in the processes of sound effects editing, mixing for film, field recording, video game audio and more. The post-production program prepares graduates for a wide range of audio engineering opportunitties in the film and televison industries. AUDIO ENGINEERING // LIVE SOUND PRODUCTION 5 CREDITS / 3 QUARTERS* CERTIFICATE Q AUDIO-0 AUDIO-0 AUDIO-09 AUDIO-03 AUDIO-0 AUDIO-05 AUDIO-06 AUDIO-07 AUDIO-08 Recording Techniques Console Operation : Neve Console Operation : API Pro Tools 0 & 0 The Business of Audio Critical Listening Musicianship for Audio Engineers Mac Basics and Gear Set-Up Recording Theory TOTAL 5 Q AUDIO-03 AUDIO-0 AUDIO-0 AUDIO-06 AUDIO-07 AUDIO-08 Pro Tools 0 & 0M Console Operation : SSL Duality Mixing Essentials Intro to Live Sound Intro to Post Production Signal Processing TOTAL 5 3 Q+Q of this program are identical to the Certificate in Audio Engineering (see p. 6). Q3 EMPHASIS AUDIO-0 AUDIO-0 AUDIO-0 AUDIO-05 AUDIO-06 AUDIO-07 AUDIO-08 Monitor Setup and Operations Console Op 3: Venue and Yamaha Live Recording & Mixing Sound Reinforcement Essentials Stage & Tour Management Live Sound Applications Event Production Contracts TOTAL 5 *Based on optimal course load of 5 credits per quarter In addition to the Audio Engineering Certificate, students are trained in live production skills like console operation, monitor set-up, stage and Tour management and more. The Live Sound production program prepares graduates for a wide range of audio engineering opportunities in the field of live music. 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 7

11 CERTIFICATE DJ PERFORMANCE & PRODUCTION Musicians Institute s Certificate in DJ Performance and Production is a -quarter, 30-unit program for aspiring DJs, producers, beat-makers, remix artists, and electronic music composers and performers. Students are provided with in-depth knowledge and training in the latest technologies, tools and techniques used in contemporary electronic performance and production. DJ PERFORMANCE & PRODUCTION 30 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* COURSE CREDIT CERTIFICATE = CREDITS Private Lesson - DAW -: Ableton Live for DJs - DJ Set Building - Beat Matching - DJ Software : Serato DJ Software : Traktor Remixing 3 CERTIFICATE PROF. DEVELOPMENT = 5 CREDITS = 7 CREDITS = CREDITS History and Analysis of Recorded Popular Music - The Business of DJ ing Independent Artist Marketing Musicianship - Song Building - This program is new. The number of students who graduate, the number of students who are placed, or the starting salary you can earn after finishing the educational program are unknown at this time. Information regarding general salary and placement statistics may be available from governmental sources or from the institution, but is not equivalent to actual performance data. 3 Q DJ-PL DJ-058 DJ-0 DJ-0 DJ-03 DJ-0 PROF. DEV. DJ-05 DJ-08 DJ-06 DJ-07 Private Lesson DAW : Ableton Live for DJs DJ Set Building Beat Matching DJ Software : Serato DJ Software : Traktor History & Analysis of Recorded Popular Music The Business of DJ ing Musicianship Song Building.5 TOTAL 5.5 Q DJ-PL DJ-58 DJ-0 DJ-0 DJ-09 PROF. DEV. DJ-05 MUBUS-0307 DJ-06 DJ-07 Private Lesson DAW : Ableton Live for DJs DJ Set Building Beat Matching Remixing History & Analysis of Recorded Popular Music Independent Artist Marketing Musicianship Song Building TOTAL *Based on optimal course load of 5 credits per quarter 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 9

12 CERTIFICATE GUITAR CRAFT GUITAR CRAFT Students learn to build an electric guitar or bass from scratch including design, fabrication, wiring, electronics, repair and maintenance. This program provides comprehensive preparation for professions in the fields of instrument manufacturing and repair. 30 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* COURSE CREDIT CERTIFICATE = 6 CREDITS Instrument Design & Instrument Fabrication & Fretwork & Setup & Electronics & Instrument Repair Finish Work 3 3 Q Q CERTIFICATE PERFORMANCE = CREDITS Instrument Performance & ** GCRFT-03 GCRFT-0 GCRFT-0 GCRFT-0 GCRFT-05 PERFORMANCE GCRFT-07 Instrument Design Instrument Fabrication Fretwork & Setup Electronics Instrument Repair Instrument Performance 6 GCRFT-03 GCRFT-0 GCRFT-0 GCRFT-0 GCRFT-06 PERFORMANCE GCRFT-07 Instrument Design Instrument Fabrication Fretwork & Setup Electronics Finish Work Instrument Performance 6 3 TOTAL 5 TOTAL 5 **The Guitar Craft instrument performance credit or AA Combined Emphasis is only available in combination with instrument studies in Guitar or Bass. *Based on optimal course load of 5 credits per quarter GUITAR CRAFT // ACOUSTIC GUITAR DESIGN 5 CREDITS / 3 QUARTERS* In addition to learning the material taught in the Certificate program for Guitar Craft, which covers electric instruments, students can also learn in the specific design, fabrication and finishing requirements of acoustic guitars. Q3 (Q + Q ARE THE SAME AS ABOVE) EMPHASIS GCRFT-303 GCRFT-30 GCRFT-305 GCRFT-306 GCRFT-307 Acoustic Guitar Design Acoustic Guitar Fabrication Acoustic Guitar Fixtures Acoustic Guitar Finishing Instrument Performance 3 TOTAL THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07.

13 CERTIFICATE INDEPENDENT ARTIST DEVELOPMENT INDEPENDENT ARTIST DEVELOPMENT Instrumentalists, singers, songwriters, rappers, DJs and producers learn the entire process of creating their own project from writing and recording to marketing, publicity, website design and final release. This program is designed to equip musicians with the various skills needed to independently write, record and market their original material. 30 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* COURSE CREDIT CERTIFICATE = OR 3 CREDITS DEPENDING ON TRACK Recording Project & Project Advising & DAW & (choose from one platform below) - Pro Tools 0 & 0 ( credits) - Apple Logic & ( credits) - Propellerhead Reason & ( credits) - Ableton Live & ( credits) Artist Identity Final Project - CERTIFICATE PROF. DEVELOPMENT = 9 CREDITS = 6 CREDITS = OR CREDITS DEPENDING ON TRACK Applied Entertainment Business & Independent Artist Marketing Visual Media & Musicianship & Songwriting & Q AUDIO-057 ARTST-0 ARTST-0 PROF. DEV. MUBUS-0360 MUBUS-0307 CC-307 ARTST-06 CC-306 DAW (credits depend on track) Recording Project Project Advising Applied Entertainment Business Independent Artist Marketing Visual Media Musicianship Songwriting (credits depend on track) TOTAL Q ARTST-03 AUDIO-57 ARTST-0 ARTST-0 ARTST-03 PROF. DEV. MUBUS-060 CC-07 ARTST-06 CC-06 Artist Identity DAW (credits depend on track) Recording Project Project Advising Final Project Applied Entertainment Business Visual Media Musicianship Songwriting (credits depend on track) TOTAL *Based on optimal course load of 5 credits per quarter THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 3

14 CERTIFICATE MUSIC BUSINESS MUSIC BUSINESS For those seeking non-performance careers in the music industry, this program provides the knowledge and practical skills needed for entry-level positions at record labels, marketing and personal artist management firms, or music industry companies specializing in music publishing and licensing, A&R, entertainment law, live concert touring and more. 30 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* COURSE CREDIT CERTIFICATE = 8 CREDITS Music Law & Computers in Business Record Labels Your Music Business Career Agents & Bookings Digital Marketing Music Publishing Personal Management Media Relations Music Distribution Concert & Tour Production Music Industry Internship Networking Strategies Music Licensing & Supervision Q MUBUS-0 MUBUS-0 MUBUS-03 MUBUS-0 MUBUS-05 MUBUS-06 MUBUS-07 MUBUS-08 Music Law Computers in Business Record Labels Your Music Business Career Agents & Bookings Digital Marketing Music Publishing Personal Management TOTAL 5 Q MUBUS-0 MUBUS-0 MUBUS-03 MUBUS-0 MUBUS-05 MUBUS-06 MUBUS-07 Music Law Media Relations Music Distribution Concert & Tour Production Music Industry Internship Networking Strategies Music Licensing & Supervision TOTAL 5 CERTIFICATE = CREDITS MUSIC BUSINESS // ENTREPRENEUR 5 CREDITS / 3 QUARTERS* In addition to learning the material taught in the Certificate program for Music Business, students can also develop the financial, legal and managerial tools to establish and operate independent musicrelated businesses, or to manage their own careers as independent artists. Q3 (Q + Q ARE THE SAME AS ABOVE) MUBUS-30 MUBUS-303 MUBUS-30 MUBUS-305 MUBUS-306 MUBUS-307 MUBUS-308 Music Law 3 Start Your Own Record Label Social Networking & Fan Management Showcase Promotion Broadcast Strategies Independent Artist Marketing Operating a Music Business *Based on optimal course load of 5 credits per quarter TOTAL 5 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 5

15 CERTIFICATE BASS BASS Students can earn a Certificate in MI s Performance Studies program for Bass. With an innovative 360-degree approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in Reading, Technique and Performance. This Certificate program provides students with a broad foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for a range of professional music performance situations. 60 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* CERTIFICATE = 0 CREDITS = 6 CREDITS COURSE Private Lesson - Bass LPW Bass Performance Bass Technique 0-0 Bass Reading 0-0 Bass Gear Maintenance Bass Gear Mastery DAW: Reason - Rhythm Reading Workout - Harmony & Theory 0-0 Ear Training 0-0 Keyboard Proficiency - CREDIT Q BASS-PL CC-03B BASS-03 BASS-0 BASS-0 BASS-0 CC-05 CC-0 CC-0 Private Lesson Bass LPW 03 Bass Performance 03 Bass Technique 0 Bass Reading 0 Bass Gear Maintenance Rhythm Reading Workout Harmony & Theory 0 Ear Training 0 TOTAL Q3 Q BASS-PL CC-03B BASS-03 BASS-0 BASS-0 BASS-0 CC-05 CC-0 CC-0 Private Lesson Bass LPW 03 Bass Performance 03 Bass Technique 0 Bass Reading 0 Bass Gear Mastery Rhythm Reading Workout Harmony & Theory 0 Ear Training 0 TOTAL Q CERTIFICATE = CREDITS BASS-PL CC-03B BASS-30 BASS-0 BASS-0 AUDIO-056 CC-0 CC-0 CC-08 Private Lesson 3 Bass LPW 03 Bass Performance 30 Bass Technique 0 Bass Reading 0 DAW : Reason Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 BASS-PL CC-03B BASS-30 BASS-0 BASS-0 AUDIO-56 CC-0 CC-0 CC-08 Private Lesson Bass LPW 03 Bass Performance 30 Bass Technique 0 Bass Reading 0 DAW Reason: Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 *Based on optimal course load of 5 credits per quarter TOTAL 5 TOTAL 5 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 7

16 CERTIFICATE DRUM DRUM Students can earn a Certificate in MI s Performance Studies program for Drums. With an innovative 360-degree approach to music education, MI s Drum Certificate is centered on Reading, Technique and Performance. This Certificate program provides students with a broad foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for a range of professional music performance situations. 60 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* CERTIFICATE = CREDITS COURSE Private Lesson - Drum LPW Drum Performance Drum Technique 0-0 Drum Reading 0-0 Developing Your Groove Drum Gear Maintenance & Mastery E-Drumming Essentials Timekeeping DAW: Reason - CREDIT Q DRUM-PL CC-03D DRUM-03 DRUM-0 DRUM-0 DRUM-05 DRUM-0 CC-0 CC-0 Private Lesson Drum LPW 03 Drum Performance 03 Drum Technique 0 Drum Reading 0 Developing Your Groove Drum Gear Maintenance & Mastery Harmony & Theory 0 Ear Training Q DRUM-PL CC-03D DRUM-03 DRUM-0 DRUM-0 AUDIO-056 DRUM-05 CC-0 CC-0 Private Lesson Drum LPW 03 Drum Performance 03 Drum Technique 0 Drum Reading 0 DAW Timekeeping Harmony & Theory 0 Ear Training CERTIFICATE TOTAL 5 TOTAL 5 = CREDITS Harmony & Theory 0-0 Ear Training 0-0 Keyboard Proficiency Q3 Q = CREDITS DRUM-PL CC-03D DRUM-30 DRUM-0 DRUM-0 AUDIO-56 CC-0 CC-0 CC-08 Private Lesson 3 Drum LPW 03 Drum Performance 30 Drum Technique 0 Drum Reading 0 DAW Harmony & Theory 0 Ear Training 0 Keyboard Proficiency DRUM-PL CC-03D DRUM-30 DRUM-0 DRUM-0 DRUM-0 CC-0 CC-0 CC-08 Private Lesson Drum LPW 03 Drum Performance 30 Drum Technique 0 Drum Reading 0 E-Drumming Essentials Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 *Based on optimal course load of 5 credits per quarter TOTAL 5 TOTAL 5 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 9

17 CERTIFICATE GUITAR GUITAR Students can earn a Certificate in MI s Performance Studies program for Guitar. With an innovative 360-degree approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in Reading, Technique and Performance. This Certificate program provides students with a broad foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for a range of professional music performance situations. 60 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* CERTIFICATE = 0 CREDITS COURSE Private Lesson - Guitar LPW Guitar Performance Guitar Technique 0-0 Guitar Reading 0-0 Guitar Gear Maintenance Guitar Gear Mastery DAW: Reason - CREDIT Q GUIT-PL CC-03G GUIT-03 GUIT-0 GUIT-0 GUIT-0 CC-05 CC-0 CC-0 Private Lesson Guitar LPW 03 Guitar Performance 03 Guitar Technique 0 Guitar Reading 0 Guitar Gear Maintenance Rhythm Reading Workout Harmony & Theory 0 Ear Training Q GUIT-PL CC-03G GUIT-03 GUIT-0 GUIT-0 GUIT-0 CC-05 CC-0 CC-0 Private Lesson Guitar LPW 03 Guitar Performance 03 Guitar Technique 0 Guitar Reading 0 Guitar Gear Mastery Rhythm Reading Workout Harmony & Theory 0 Ear Training CERTIFICATE = 6 CREDITS Rhythm Reading Workout - Harmony & Theory 0-0 Ear Training 0-0 Keyboard Proficiency TOTAL 5 Q3 TOTAL 5 Q = CREDITS GUIT-PL CC-03G GUIT-30 GUIT-0 GUIT-0 AUDIO-056 CC-0 CC-0 CC-08 Private Lesson 3 Guitar LPW 03 Guitar Performance 30 Guitar Technique 0 Guitar Reading 0 DAW : Reason Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 GUIT-PL CC-03G GUIT-30 GUIT-0 GUIT-0 AUDIO-56 CC-0 CC-0 CC-08 Private Lesson Guitar LPW 03 Guitar Performance 30 Guitar Technique 0 Guitar Reading 0 DAW : Reason Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 *Based on optimal course load of 5 credits per quarter TOTAL 5 TOTAL 5 30 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 3

18 CERTIFICATE KEYBOARD TECHNOLOGY // PERFORMANCE TRACK KEYBOARD TECHNOLOGY // PERFORMANCE TRACK Students can earn a Certificate in MI s Performance Studies program for Keyboard Technology. With an innovative 360-degree approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in Reading, Technique and Performance. This Certificate program provides students with a broad foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for a range of professional music performance situations. Choosing the Performance Track allows students to receive a heavier emphasis on live performance skills, as well as basic training in using Reason software. 60 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* CERTIFICATE = 39 CREDITS = CREDITS COURSE Private Lesson - Keyboard LPW Keyboard Performance Keyboard Technique 0-0 Keyboard Reading 0-0 Keyboard Gear Mastery DAW & Rhythm Reading Workout - Harmony & Theory 0-0 Ear Training 0-0 CREDIT Q KEYBD-PL CC-03K KEYBD-03 KEYBD-0 KEYBD-0 CC-05 CC-0 CC-0 Private Lesson Keyboard LPW 03 Keyboard Performance 03 Keyboard Technique 0 Keyboard Reading 0 Rhythm Reading Workout Harmony & Theory 0 Ear Training 0 TOTAL Q3 Q KEYBD-PL CC-03K KEYBD-03 KEYBD-0 KEYBD-0 KEYBD-0 CC-05 CC-0 CC-0 Private Lesson Keyboard LPW 03 Keyboard Performance 03 Keyboard Technique 0 Keyboard Reading 0 Keyboard Gear Mastery Rhythm Reading Workout Harmony & Theory 0 Ear Training 0 TOTAL Q CERTIFICATE = 7 CREDITS 7 KEYBD-PL CC-03K KEYBD-30 KEYBD-0 KEYBD-0 AUDIO-056 CC-0 CC-0 Private Lesson 3 Keyboard LPW 03 Keyboard Performance 30 Keyboard Technique 0 Keyboard Reading 0 DAW : Reason Harmony & Theory 0 Ear Training KEYBD-PL CC-03K KEYBD-30 KEYBD-0 KEYBD-0 AUDIO-56 CC-0 CC-0 Private Lesson Keyboard LPW 03 Keyboard Performance 30 Keyboard Technique 0 Keyboard Reading 0 DAW : Reason Harmony & Theory 0 Ear Training *Based on optimal course load of 5 credits per quarter TOTAL 5 TOTAL 5 ** Student s choice of various DAWs 3 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

19 CERTIFICATE KEYBOARD TECHNOLOGY // PRODUCTION TRACK KEYBOARD TECHNOLOGY // PRODUCER TRACK Students can earn a Certificate in MI s Performance Studies program for Keyboard Technology. With an innovative 360-degree approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in Reading, Technique and Performance. This Certificate program provides students with a broad foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for a range of professional music performance situations. Choosing the Producer Track allows students to receive a heavier emphasis in studio-based recording and production skills, including the use of Logic and Pro Tools software; as well as core courses in Digital Music and Synthesis & Sampling. 60 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* CERTIFICATE = 36 CREDITS COURSE Private Lesson - Keyboard LPW Keyboard Performance Keyboard Technique 0-0 Keyboard Reading 0-0 Keyboard Gear Mastery DAW : Logic - DAW : Pro Tools - Digital Music - Synthesis & Sampling CREDIT 8 Q KEYBD-PL CC-03K KEYBD-03 KEYBD-0 KEYBD-0 AUDIO-05 CC-05 CC-0 CC-0 Private Lesson Keyboard LPW 03 Keyboard Performance 03 Keyboard Technique 0 Keyboard Reading 0 DAW : Logic Rhythm Reading Workout Harmony & Theory 0 Ear Training Q KEYBD-PL CC-03K KEYBD-03 KEYBD-0 KEYBD-0 AUDIO-5 CC-05 CC-0 CC-0 Private Lesson Keyboard LPW 03 Keyboard Performance 03 Keyboard Technique 0 Keyboard Reading 0 DAW : Logic Rhythm Reading Workout Harmony & Theory 0 Ear Training CERTIFICATE TOTAL 5 TOTAL 5 = CREDITS Rhythm Reading Workout - Harmony & Theory 0-0 Ear Training Q3 Q = 0 CREDITS 0 KEYBD-PL CC-03K AUDIO-057 KEYBD-0 KEYBD-0 KEYBD-50 CC-0 CC-0 Private Lesson 3 Keyboard LPW 03 DAW : Pro Tools Gear Mastery Digital Music Synthesis & Sampling Harmony & Theory 0 Ear Training KEYBD-PL CC-03K AUDIO-57 KEYBD-0 CC-0 CC-0 Private Lesson Keyboard LPW 03 DAW : Pro Tools Digital Music Harmony & Theory 0 Ear Training *Based on optimal course load of 5 credits per quarter TOTAL 5 TOTAL 5 3 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

20 CERTIFICATE VOCAL VOCAL Students can earn a Certificate in MI s Performance Studies program for Vocal. With an innovative 360-degree approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in Reading, Technique and Performance. This Certificate program provides students with a broad foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for a range of professional music performance situations. 60 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* CERTIFICATE = 0 CREDITS = 6 CREDITS COURSE Private Lesson - Vocal LPW Vocal Performance Vocal Technique 0-0 Sightsinging 0-0 Styles Survey - DAW: Reason - Rhythm Reading Workout - Harmony & Theory 0-0 Ear Training 0-0 Keyboard Proficiency - CREDIT Q VOCAL-PL CC-03V VOCAL-03 VOCAL-0 VOCAL-0 VOCAL-0 CC-05 CC-0 CC-0 Private Lesson Vocal LPW 03 Vocal Performance 03 Vocal Technique 0 Sightsinging 0 Styles Survey Rhythm Reading Workout Harmony & Theory 0 Ear Training 0 TOTAL Q3 Q VOCAL-PL CC-03V VOCAL-03 VOCAL-0 VOCAL-0 VOCAL-0 CC-05 CC-0 CC-0 Private Lesson Vocal LPW 03 Vocal Performance 03 Vocal Technique 0 Sightsinging 0 Styles Survey Rhythm Reading Workout Harmony & Theory 0 Ear Training 0 TOTAL Q CERTIFICATE = CREDITS VOCAL-PL CC-03V VOCAL-30 VOCAL-0 VOCAL-0 AUDIO-056 CC-0 CC-0 CC-08 Private Lesson 3 Vocal LPW 03 Vocal Performance 30 Vocal Technique 0 Sightsinging 0 DAW : Reason Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 VOCAL-PL CC-03V VOCAL-30 VOCAL-0 VOCAL-0 AUDIO-56 CC-0 CC-0 CC-08 Private Lesson Vocal LPW 03 Vocal Performance 30 Vocal Technique 0 Sightsinging 0 DAW : Reason Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 *Based on optimal course load of 5 credits per quarter TOTAL 5 TOTAL 5 36 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

21 ASSOCIATE OF ARTS OVERVIEW 6 QTRS IN PERFORMANCE STUDIES* MI s Associate of Arts Degree in Performance offers students extensive vocational training in Bass, Drum, Guitar, Keyboard Technology or Vocal. Topics in Harmony, Theory and Ear Training are explored in extensive depth through Reading, Technique and Performance on the chosen instrument. The intensive A.A. curriculum prepares musicians to perform in any professional situation, along with learning professional development skills such as basic computer use, EPK creation, resume and bio writing, and social media as a tool for business and networking. The Associate of Arts Degree is intended to equip students with the knowledge and training needed to become professional performers in today s music industry. ASSOCIATE OF ARTS // COMBINED EMPHASIS QTRS IN PERFORMANCE STUDIES & QTRS IN ENTERTAINMENT INDUSTRY STUDIES* With additional training, students can choose to earn an Associate of Arts Degree with a Combined Emphasis in Performance and Entertainment Industry Studies. Enhancing the instrumental performance education of a regular Associate of Arts Degree, graduates attain specialization in their choice of Audio Engineering, DJ Performance & Production, Independent Artist, Guitar Craft or Music Business (see Certificate section for details). ASSOCIATE See the Admissions/Bachelor Program/Transfer of Credit section of this catalog for information on transfer of Associate of Arts credits into MI s Bachelor of Music Program. ASSOCIATE OF SCIENCE OVERVIEW 6 QTRS IN MUSIC BUSINESS* The 90-credit ASMB degree provides students with in-depth training in a diverse range of subjects encountered in today s music industry. In addition to courses in entertainment law, music publishing and licensing, record labels, distribution, and personal management, our Associate of Science degree also includes music industry history, international music publishing, accounting and finance, marketing, and visual media. During the course of six quarters, students partake in two internships as well as music courses covering song structure, recording & production, and critical listening skills. MI Music Business instructors share real-world experience earned from working with major artists & record label executives; music supervisors for film & TV; publishing consultants; and media outlets. Our Associate of Science in Music Business degree prepares students to work as music industry professionals in various areas, including (but not limited to) record labels, music publishing, artist management, touring, and entrepreneurship. *Based on optimal course load of 5 credits per quarter 38 THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30,

22 ASSOCIATE OF ARTS BASS 90 CREDITS / 6 QUARTERS REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE* COURSE CREDIT ASSOCIATE = 53 CREDITS Private Lesson -6 Bass LPW Bass Performance Bass Technique 0-0 Bass Reading 0-0 Bass Gear Maintenance Bass Gear Mastery DAW: Reason - Synth Bass Upright Bass Workshop - Project Recording: Bass ASSOCIATE PROF. DEVELOPMENT = CREDITS Applied Entertainment Business - Media Relations Visual Media - Independent Artist Marketing 3 = 9 CREDITS Rhythm Reading Workout - Harmony & Theory 0-0 Ear Training 0-0 Keyboard Proficiency - Songwriting = 7 CREDITS 7 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS

23 ASSOCIATE OF ARTS BASS Q Q BASS-PL CC-03B BASS-03 BASS-0 BASS-0 BASS-0 CC-05 CC-0 CC-0 Private Lesson Bass LPW 03 Bass Performance 03 Bass Technique 0 Bass Reading 0 Bass Gear Maintenance Rhythm Reading Workout Harmony & Theory 0 Ear Training BASS-PL CC-003B BASS-30 BASS-0 BASS-0 AUDIO-56 CC-0 CC-0 CC-08 Private Lesson Bass LPW 03 Bass Performance 30 Bass Technique 0 Bass Reading 0 DAW Reason: Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 TOTAL 5 TOTAL 5 Q Q5 ASSOCIATE BASS-PL CC-03B BASS-03 BASS-0 BASS-0 BASS-0 CC-05 CC-0 CC-0 Private Lesson Bass LPW 03 Bass Performance 03 Bass Technique 0 Bass Reading 0 Bass Gear Mastery Rhythm Reading Workout Harmony & Theory 0 Ear Training 0 TOTAL BASS-PL CC-303B BASS-370 BASS-350 BASS-360 PROF. DEV. MUBUS-0360 MUBUS-00 CC-307 CC-306 Private Lesson 5 Bass LPW 303 Synth Bass Upright Bass Workshop Project Recording: Bass Applied Entertainment Business Media Relations Visual Media Songwriting TOTAL ASSOCIATE Q3 Q6 BASS-PL CC-03B BASS-30 BASS-0 BASS-0 AUDIO-056 CC-0 CC-0 CC-08 Private Lesson 3 Bass LPW 03 Bass Performance 30 Bass Technique 0 Bass Reading 0 DAW : Reason Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 BASS-PL CC-03B BASS-50 BASS-60 PROF. DEV. MUBUS-060 CC-07 MUBUS-0307 CC-06 Private Lesson 6 Bass LPW 03 Upright Bass Workshop Project Recording: Bass Applied Entertainment Business Visual Media Independent Artist Marketing Songwriting.5.5 TOTAL 5 TOTAL 5 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS

24 ASSOCIATE OF ARTS DRUM 90 CREDITS / 6 QUARTERS REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE* COURSE CREDIT ASSOCIATE = 56 CREDITS Private Lesson -6 Drum LPW Drum Performance Drum Technique 0-0 Drum Reading 0-0 Developing Your Groove Drum Gear Maintenance & Mastery E-Drumming Essentials Timekeeping DAW: Reason - Advanced Drumming Styles: Jazz Advanced Drumming Styles: Latin, Jazz or R&B Gospel (pick one option) Project Recording: Drum ASSOCIATE PROF. DEVELOPMENT = CREDITS Applied Entertainment Business - Media Relations Visual Media - Independent Artist Marketing 3 = 7 CREDITS Harmony & Theory 0-0 Ear Training 0-0 Keyboard Proficiency - Songwriting = 6 CREDITS 6 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS 5

25 ASSOCIATE OF ARTS DRUM Q Q DRUM-PL CC-03D DRUM-03 DRUM-0 DRUM-0 DRUM-05 DRUM-0 CC-0 CC-0 Private Lesson Drum LPW 03 Drum Performance 03 Drum Technique 0 Drum Reading 0 Developing Your Groove Drum Gear Maintenance & Mastery Harmony & Theory 0 Ear Training DRUM-PL CC-03D DRUM-30 DRUM-0 DRUM-0 DRUM-0 CC-0 CC-0 CC-08 Private Lesson Drum LPW 03 Drum Performance 30 Drum Technique 0 Drum Reading 0 E-Drumming Essentials Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 TOTAL 5 TOTAL 5 Q Q5 ASSOCIATE DRUM-PL CC-03D DRUM-03 DRUM-0 DRUM-0 AUDIO-056 DRUM-05 CC-0 CC-0 Private Lesson Drum LPW 03 Drum Performance 03 Drum Technique 0 Drum Reading 0 DAW Timekeeping Harmony & Theory 0 Ear Training DRUM-PL CC-303D DRUM-350 DRUM-360 PROF. DEV. MUBUS-0360 MUBUS-00 CC-307 CC-306 Private Lesson 5 Drum LPW 303 Advanced Drumming Styles: Jazz Project Recording: Drum Applied Entertainment Business Media Relations Visual Media Songwriting.5.5 ASSOCIATE TOTAL 5 TOTAL 5 Q3 Q6 DRUM-PL CC-03D DRUM-30 DRUM-0 DRUM-0 AUDIO-56 CC-0 CC-0 CC-08 Private Lesson 3 Drum LPW 03 Drum Performance 30 Drum Technique 0 Drum Reading 0 DAW Harmony & Theory 0 Ear Training 0 Keyboard Proficiency TOTAL DRUM-PL CC-03D DRUM-5 DRUM-50 DRUM-5 DRUM-60 PROF. DEV. MUBUS-060 CC-07 MUBUS-0307 CC-06 Private Lesson 6 Drum LPW 03 Advanced Drumming Styles A: Jazz Advanced Drumming Styles B: Latin Advanced Drumming Styles C: R&B/ Gospel Project Recording: Drum Applied Entertainment Business Visual Media Independent Artist Marketing Songwriting.5.5 TOTAL 5 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS

26 ASSOCIATE OF ARTS GUITAR 90 CREDITS / 6 QUARTERS REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE* COURSE CREDIT ASSOCIATE = 5 CREDITS Private Lesson -6 Guitar LPW Guitar Performance Guitar Technique 0-0 Guitar Reading 0-0 Guitar Gear Maintenance Guitar Gear Mastery DAW: Reason - Advanced Musicianship Concepts - Project Recording: Guitar ASSOCIATE PROF. DEVELOPMENT = CREDITS Applied Entertainment Business - Media Relations Visual Media - Independent Artist Marketing 3 = 9 CREDITS Rhythm Reading Workout - Harmony & Theory 0-0 Ear Training 0-0 Keyboard Proficiency - Songwriting = 6 CREDITS 6 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS 9

27 ASSOCIATE OF ARTS GUITAR Q Q GUIT-PL CC-03G GUIT-03 GUIT-0 GUIT-0 GUIT-0 CC-05 CC-0 CC-0 Private Lesson Guitar LPW 03 Guitar Performance 03 Guitar Technique 0 Guitar Reading 0 Guitar Gear Maintenance Rhythm Reading Workout Harmony & Theory 0 Ear Training GUIT-PL CC-03G GUIT-30 GUIT-0 GUIT-0 AUDIO-56 CC-0 CC-0 CC-08 Private Lesson Guitar LPW 03 Guitar Performance 30 Guitar Technique 0 Guitar Reading 0 DAW : Reason Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 TOTAL 5 TOTAL 5 Q Q5 ASSOCIATE GUIT-PL CC-03G GUIT-03 GUIT-0 GUIT-0 GUIT-0 CC-05 CC-0 CC-0 Private Lesson Guitar LPW 03 Guitar Performance 03 Guitar Technique 0 Guitar Reading 0 Guitar Gear Mastery Rhythm Reading Workout Harmony & Theory 0 Ear Training GUIT-PL CC-303G GUIT-350 GUIT-360 PROF. DEV. MUBUS-0360 MUBUS-00 CC-307 CC-306 Private Lesson 5 Guitar LPW 303 Advanced Musicianship Concepts Project Recording: Guitar Applied Entertainment Business Media Relations Visual Media Songwriting.5.5 ASSOCIATE TOTAL 5 TOTAL 5 Q3 Q6 GUIT-PL CC-03G GUIT-30 GUIT-0 GUIT-0 AUDIO-056 CC-0 CC-0 CC-08 Private Lesson 3 Guitar LPW 03 Guitar Performance 30 Guitar Technique 0 Guitar Reading 0 DAW : Reason Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 GUIT-PL CC-03G GUIT-50 GUIT-60 PROF. DEV. MUBUS-060 CC-07 MUBUS-0307 CC-06 Private Lesson 6 Guitar LPW 03 Advanced Musicianship Concepts Project Recording: Guitar Applied Entertainment Business Visual Media Independent Artist Marketing Songwriting.5.5 TOTAL 5 TOTAL 5 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter 50 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS

28 ASSOCIATE OF ARTS KEYBOARD TECHNOLOGY // PERFORMANCE TRACK 90 CREDITS / 6 QUARTERS REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE* COURSE CREDIT = 53 CREDITS Private Lesson -6 Keyboard LPW Keyboard Performance Keyboard Technique 0-0 Keyboard Reading 0-0 Keyboard Gear Mastery DAW: Reason - Commercial Composition - Project Recording: Keyboard ASSOCIATE PROF. DEVELOPMENT = CREDITS Applied Entertainment Business - Media Relations Visual Media - Independent Artist Marketing 3 ASSOCIATE = 7 CREDITS Rhythm Reading Workout - Harmony & Theory 0-0 Ear Training 0-0 Songwriting = 9 CREDITS 9 5 *Based on optimal course load of 5 credits per quarter THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS *Based on optimal course load of 5 credits per quarter ** Student s choice of various DAWs 53

29 OF ARTS KEYBOARD TECHNOLOGY // PERFORMANCE TRACK Q Q KEYBD-PL CC-03K KEYBD-03 KEYBD-0 KEYBD-0 CC-05 CC-0 CC-0 Private Lesson Keyboard LPW 03 Keyboard Performance 03 Keyboard Technique 0 Keyboard Reading 0 Rhythm Reading Workout Harmony & Theory 0 Ear Training KEYBD-PL CC-03K KEYBD-30 KEYBD-0 KEYBD-0 AUDIO-56 CC-0 CC-0 Private Lesson Keyboard LPW 03 Keyboard Performance 30 Keyboard Technique 0 Keyboard Reading 0 DAW Harmony & Theory 0 Ear Training TOTAL 5 TOTAL 5 Q Q5 ASSOCIATE KEYBD-PL CC-03K KEYBD-03 KEYBD-0 KEYBD-0 KEYBD-0 CC-05 CC-0 CC-0 Private Lesson Keyboard LPW 03 Keyboard Performance 03 Keyboard Technique 0 Keyboard Reading 0 Keyboard Gear Mastery Rhythm Reading Workout Harmony & Theory 0 Ear Training KEYBD-PL CC-303K KEYBD-350 KEYBD-360 PROF. DEV. MUBUS-0360 MUBUS-00 CC-307 CC-306 Private Lesson 5 Keyboard LPW 303 Commercial Composition Project Recording: Keyboard Applied Entertainment Business Media Relations Visual Media Songwriting.5.5 ASSOCIATE TOTAL 5 TOTAL 5 Q3 Q6 KEYBD-PL CC-03K KEYBD-30 KEYBD-0 KEYBD-0 AUDIO-056 CC-0 CC-0 Private Lesson 3 Keyboard LPW 03 Keyboard Performance 30 Keyboard Technique 0 Keyboard Reading 0 DAW Harmony & Theory 0 Ear Training KEYBD-PL CC-03K KEYBD-50 KEYBD-60 PROF. DEV. MUBUS-060 CC-07 MUBUS-0307 CC-06 Private Lesson 6 Keyboard LPW 03 Commercial Composition Project Recording: Keyboard Applied Entertainment Business Visual Media Independent Artist Marketing Songwriting.5.5 TOTAL 5 TOTAL 5 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter 5 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS 55

30 ASSOCIATE OF ARTS KEYBOARD TECHNOLOGY // PRODUCER TRACK 90 CREDITS / 6 QUARTERS REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE* COURSE CREDIT ASSOCIATE = 5 CREDITS Private Lesson -6 Keyboard LPW Keyboard Performance Keyboard Technique 0-0 Keyboard Reading 0-0 Keyboard Gear Mastery DAW : Logic - DAW : Pro Tools - Synthesis & Sampling Digital Music -3 Commercial Composition - Producer Project ASSOCIATE PROF. DEVELOPMENT = CREDITS Applied Entertainment Business - Media Relations Visual Media - Independent Artist Marketing 3 = 7 CREDITS Rhythm Reading Workout - Harmony & Theory 0-0 Ear Training 0-0 Songwriting = 0 CREDITS 0 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter 56 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS 57

31 ASSOCIATE OF ARTS KEYBOARD TECHNOLOGY // PRODUCER TRACK Q Q KEYBD-PL CC-03K KEYBD-03 KEYBD-0 KEYBD-0 AUDIO-05 CC-05 CC-0 CC-0 Private Lesson Keyboard LPW 03 Keyboard Performance 03 Keyboard Technique 0 Keyboard Reading 0 DAW : Logic Rhythm Reading Workout Harmony & Theory 0 Ear Training KEYBD-PL CC-03K AUDIO-57 KEYBD-0 CC-0 CC-0 PROF. DEV MUBUS-00 Private Lesson Keyboard LPW 03 DAW : Pro Tools Digital Music Harmony & Theory 0 Ear Training 0 Media Relations TOTAL 5 TOTAL 5 Q Q5 ASSOCIATE KEYBD-PL CC-03K KEYBD-03 KEYBD-0 KEYBD-0 AUDIO-5 CC-05 CC-0 CC-0 Private Lesson Keyboard LPW 03 Keyboard Performance 03 Keyboard Technique 0 Keyboard Reading 0 DAW : Logic Rhythm Reading Workout Harmony & Theory 0 Ear Training KEYBD-PL CC-303K KEYBD-350 KEYBD-30 KEYBD-330 PROF. DEV. MUBUS-0360 CC-307 CC-306 Private Lesson 5 Keyboard LPW 303 Commercial Composition Digital Music 3 Producer Project Applied Entertainment Business Visual Media Songwriting.5.5 ASSOCIATE TOTAL 5 TOTAL 5 Q3 Q6 KEYBD-PL CC-03K KEYBD-0 AUDIO-057 KEYBD-0 KEYBD-50 CC-0 CC-0 Private Lesson 3 Keyboard LPW 03 Keyboard Gear Mastery DAW : Pro Tools Digital Music Synthesis & Sampling Harmony & Theory 0 Ear Training KEYBD-PL CC-03K KEYBD-50 KEYBD-30 PROF. DEV. MUBUS-060 CC-07 MUBUS-0307 CC-06 Private Lesson 6 Keyboard LPW 03 Commercial Composition Producer Project Applied Entertainment Business Visual Media Independent Artist Marketing Songwriting.5.5 TOTAL 5 TOTAL 5 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter 58 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS 59

32 ASSOCIATE OF ARTS VOCAL 90 CREDITS / 6 QUARTERS REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE* COURSE CREDIT = 5 CREDITS Private Lesson -6 Vocal LPW Vocal Performance Vocal Technique 0-0 Sightsinging 0-0 Styles Survey - DAW: Reason - Ensemble - Project Recording: Vocal ASSOCIATE PROF. DEVELOPMENT = CREDITS Applied Entertainment Business - Media Relations Visual Media - Independent Artist Marketing 3 ASSOCIATE = 9 CREDITS Rhythm Reading Workout - Harmony & Theory 0-0 Ear Training 0-0 Keyboard Proficiency - Songwriting = 6 CREDITS 6 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter 60 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS 6

33 ASSOCIATE OF ARTS VOCAL Q Q VOCAL-PL CC-03V VOCAL-03 VOCAL-0 VOCAL-0 VOCAL-0 CC-05 CC-0 CC-0 Private Lesson Vocal LPW 03 Vocal Performance 03 Vocal Technique 0 Sightsinging 0 Styles Survey Rhythm Reading Workout Harmony & Theory 0 Ear Training VOCAL-PL CC-03V VOCAL-30 VOCAL-0 VOCAL-0 AUDIO-56 CC-0 CC-0 CC-08 Private Lesson Vocal LPW 03 Vocal Performance 30 Vocal Technique 0 Sightsinging 0 DAW : Reason Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 TOTAL 5 TOTAL 5 Q Q5 ASSOCIATE VOCAL-PL CC-03V VOCAL-03 VOCAL-0 VOCAL-0 VOCAL-0 CC-05 CC-0 CC-0 Private Lesson Vocal LPW 03 Vocal Performance 03 Vocal Technique 0 Sightsinging 0 Styles Survey Rhythm Reading Workout Harmony & Theory 0 Ear Training VOCAL-PL CC-303V VOCAL-350 VOCAL-360 PRO. DEV. MUBUS-0360 MUBUS-00 CC-307 CC-306 Private Lesson 5 Vocal LPW 303 Contemporary Vocal Ensemble Project Recording: Vocal Applied Entertainment Business Media Relations Visual Media Songwriting.5.5 ASSOCIATE TOTAL 5 TOTAL 5 Q3 Q6 VOCAL-PL CC-03V VOCAL-30 VOCAL-0 VOCAL-0 AUDIO-056 CC-0 CC-0 CC-08 Private Lesson 3 Vocal LPW 03 Vocal Performance 30 Vocal Technique 0 Sightsinging 0 DAW : Reason Harmony & Theory 0 Ear Training 0 Keyboard Proficiency.5.5 VOCAL-PL CC-03V VOCAL-50 VOCAL-60 PROF. DEV. MUBUS-060 CC-07 MUBUS-0307 CC-06 Private Lesson 6 Vocal LPW 03 Advance Contemporary Vocal Ensemble Project Recording: Vocal Applied Entertainment Business Visual Media Independent Artist Marketing Songwriting.5.5 TOTAL 5 TOTAL 5 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS 63

34 ASSOCIATE OF SCIENCE MUSIC BUSINESS 90 CREDITS / 6 QUARTERS REQUIRED TO COMPLETE THIS ASSOCIATE OF SCIENCE DEGREE* COURSE CREDIT ASSOCIATE = 6.5 CREDITS Music Industry History - Music Business Law & Contracts -3 Music Publishing & Licensing - Music Industry -: Music Industry (Record Label Structure & Talent Acquisition) Music Industry (Distribution & Label Services Companies) Music Industry 3A (Broadcast Media) Music Industry 3B (Agents & Bookings) Music Industry 3C (Tour Management) Music Industry A (Entrep. Strat. for Music Based Companies) Music Industry B (Concert Promoters) Computer Tech Music Business Applications - Music Business Accounting & Finance - Personal Management & the Artist s Team Artist Development: Skills for the Creative Env. Music Business Marketing & Social Media -5 Music Industry Internship - Personal Entrepreneurship - Publishing/A&R Practicum Booking & Management Company Practicum ASSOCIATE PROF. DEVELOPMENT = 0.5 CREDITS Management & Business Skills - (includes Business Writing, Networking, Public Speaking and Leadership) Visual Media SUPPORTIVE MUSIC = 9 CREDITS Musicianship for Business Professionals Song Structure & Content Songs, Recording & Production: A&R Analysis Production Music for Visual Media: Critical Listening - = 6 CREDITS 6 *Based on optimal course load of 5 credits per quarter 6 *Based on optimal course load of 5 credits per quarter THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS This program is new. The number of students who graduate, the number of students who are placed, or the starting salary you can earn after finishing the educational program are unknown at this time. Information regarding general salary and placement statistics may be available from governmental sources or from the institution, but is not equivalent to actual performance data. 65

35 ASSOCIATE OF SCIENCE MUSIC BUSINESS Q Q ASSOCIATE MUBUS-0 MUBUS-0 MUBUS-30 MUBUS-0 MUBUS-50 MUBUS-70 MUBUS-80 PRO. DEV. MUBUS-90 Music Industry History Music Business Law & Contracts Music Publishing & Licensing Music Industry Computer Tech Music Business Applications Personal Management & The Artist s Team Music Business Marketing & Social Media Management & Business Skills TOTAL 5.5 Q MUBUS-0 MUBUS-0 MUBUS-30 MUBUS-0 MUBUS-50 MUBUS-80 PRO. DEV. MUBUS-90 SUP. MUSIC MUBUS-60 Music Industry History Music Business Law & Contracts Music Publishing & Licensing Music Industry Computer Tech Music Business Applications Music Business Marketing & Social Media Management & Business Skills Musicianship for Business Prof. TOTAL MUBUS-30 MUBUS-0 MUBUS- MUBUS-350 MUBUS-70 MUBUS-80 Music Publishing & Licensing Music Industry A Music Industry B Music Business Accounting & Finance Artist Development: Skills for the Creative Environment Music Business Marketing & Social Media.5 PRO. DEV. MUBUS-90 SUP. MUSIC MUBUS-60 Management & Business Skills Songs, Recording & Production TOTAL 5 Q5 MUBUS-580 MUBUS-50 MUBUS-550 MUBUS-570 PRO. DEV. CC-307 SUP. MUSIC MUBUS-560 Music Business Marketing & Social Media 5 Music Industry Internship Personal Entrepreneurship Publishing/A&R Practicum Visual Media Production Music for Visual Media TOTAL 5.5 ASSOCIATE Q3 Q6 MUBUS-30 MUBUS-330 MUBUS-30 MUBUS-3 MUBUS-3 MUBUS-50 MUBUS-380 PRO. DEV. MUBUS-390 SUP. MUSIC MUBUS-360 Music Business Law & Contracts 3 Music Publishing & Licensing 3 Music Industry 3A Music Industry 3B Music Industry 3C Music Business Accounting & Finance Music Business Marketing & Social Media 3 Management & Business Skills 3 Song Structure & Content.5.5 MUBUS-60 MUBUS-650 MUBUS-670 PRO. DEV. CC-07 SUP. MUSIC MUBUS-660 Music Industry Internship Personal Entrepreneurship Booking & Mgmt. Company Practicum Visual Media Production Music for Visual Media TOTAL 5 TOTAL 5 *Based on optimal course load of 5 credits per quarter *Based on optimal course load of 5 credits per quarter 66 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06. ADDITIONS AND ADDITIONS CHANGES AND CHANGES TO THE TO CATALOG THE CATALOG OCCUR OCCUR FREQUENTLY. PLEASE VISIT FOR UPDATES FOR UPDATES AND ANNOUNCEMENTS. AND ANNOUNCEMENTS 67

36 BACHELOR OF MUSIC OVERVIEW QTRS IN COMPOSITION OR PERFORMANCE* MI s Bachelor of Music Degree offers several options for students who want to gain an in-depth mastery of Harmony, Theory and Ear Training as well as comprehensive courses in music history, music production software, producing, and business relations. Bachelor Degrees are available in either Performance or Composition, with the goal of preparing graduates to become professional artists in the contemporary music and entertainment industry. Bachelor of Music in Composition (Scoring for Visual Media) The goal of this degree program is to provide a complete educational foundation that prepares students for careers as soundtrack composers, arrangers, orchestrators, editors and copyists for film, TV, animation and video games. Specific objectives include a comprehensive education in Music Composition; professional training in digital music creation tools; contemporary arranging and orchestration; a foundation in theory, ear training, music history and music styles; a general education to develop critical thinking skills and perspectives on the place of music in contemporary culture; and preparation for further studies at the graduate level. Bachelor of Music in Performance (Contemporary Styles) This unique degree program combines contemporary music performance training with the rigorous study of traditional disciplines including sight-reading, music history, arranging, conducting, recording and more. Students attain expertise in one of five major instruments: Bass, Drums, Guitar, Keyboard or Vocal. The comprehensive program instructs students to demonstrate stylistic depth, creative maturity and professional competence in preparation for careers in today s music industry. BACHELOR Minor in Audio Production Additional recording courses cover technology and techniques including Acoustics, Console Operation, Pro Tools, Mixing and Mastering, and more. Minor in Entertainment Industry Studies Concentrated courses in Music Publishing, Music Law, Record Companies, Management, Marketing and more. Double Major in Performance and Composition A combined music degree (such as a double major in Performance and Composition) is available. Students must satisfy the essential competencies, experiences, and opportunities stated in this catalog for majors in each of the areas combined. Credit requirements may vary based on instrument of study. 68 THIS CATALOG APPLIES TO ACADEMIC YEAR 05/06: OCTOBER, 05 - SEPTEMBER 30, 06.. *See General Education Transfer Credits for required credit distribution on page 73. Distribution of General Education credits is based on recommended average credit balance per General Education requirements can be found on page 9. Published program lengths are based on optimal course load at units per quarter for Bachelor Programs 69

37 BACHELOR OF MUSIC IN COMPOSITION (SCORING FOR VISUAL MEDIA) 80 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE* BACHELOR OF MUSIC IN COMPOSITION (SCORING FOR VISUAL MEDIA) QUARTER/CREDIT BREAKD0WN COURSE CREDIT Q Q Q3 Q Q5 Q6 Q7 Q8 Q9 Q0 Q Q = 6 CREDITS Private Lesson - Scoring -0 Contemporary Arranging -6 Orchestration - Sophomore Project Senior Project 0 BACHELOR SUPPORTIVE MUSIC = 33 CREDITS Music History - History of Scoring Contemporary Vanguards Counterpoint Directing and Conducting - Sibelius Notation DAW & Logic & Pro Tools 0 & 0 Mechanics of Score Production - Composers Ensemble - Composers Collaborative Business of Composing - 8 BACHELOR = 33 CREDITS Harmony & Theory 0-80 Ear Training 0-60 Keyboard Proficiency -5 Pro Reading Ensemble GENERAL ED* = 5 CREDITS = 5 CREDITS 5 3 *See General Education Transfer Credits for required credit distribution on page 73. Distribution of General Education credits is based on recommended average credit balance per General Education requirements can be found on page 9. **Student s choice of DAW Note: Published program lengths are based on optimal course load at units per quarter for Bachelor Programs. 70 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 7

38 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) BASS 80 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE* BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) BASS QUARTER/CREDIT BREAKD0WN COURSE CREDIT Q Q Q3 Q Q5 Q6 Q7 Q8 Q9 Q0 Q Q = 8 CREDITS Private Lesson 3- Bass Performance Bachelor Performance - Bass Technique 0-0 Bass Reading BACHELOR SUPPORTIVE MUSIC = 7 CREDITS DAW & Sibelius Notation Style Survey BACH Ensemble - Music History - Contemporary Arranging -5 Directing and Conducting Contemporary Music Instruction Logic & Pro Tools 0 & 0 Sophomore Jury Prep / Sophomore Jury Senior Jury Prep / Senior Jury 8 0 BACHELOR PROF. DEVELOPMENT = 3 CREDITS Applied Entertainment Business = 9 CREDITS Harmony & Theory 0-80 Ear Training 0-60 Keyboard Proficiency GENERAL ED* = 5 CREDITS = 8 CREDITS *See General Education Transfer Credits for required credit distribution on page 73. Distribution of General Education credits is based on recommended average credit balance per General Education requirements can be found on page 9. **Student s choice of DAW Note: Published program lengths are based on optimal course load at units per quarter for Bachelor Programs. 7 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

39 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) DRUM 80 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE* BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) DRUM QUARTER/CREDIT BREAKD0WN COURSE CREDIT Q Q Q3 Q Q5 Q6 Q7 Q8 Q9 Q0 Q Q = 8 CREDITS Private Lesson 3- Drum Performance Bachelor Performance - Drum Technique 0-0 Drum Reading BACHELOR SUPPORTIVE MUSIC = 7 CREDITS DAW & Sibelius Notation Style Survey BACH Ensemble - Music History - Contemporary Arranging -5 Directing and Conducting Contemporary Music Instruction Logic & Pro Tools 0 & 0 Sophomore Jury Prep / Sophomore Jury Senior Jury Prep / Senior Jury 8 0 BACHELOR PROF. DEVELOPMENT = 3 CREDITS Applied Entertainment Business = 9 CREDITS Harmony & Theory 0-80 Ear Training 0-60 Keyboard Proficiency GENERAL ED* = 5 CREDITS = 8 CREDITS *See General Education Transfer Credits for required credit distribution on page 73. Distribution of General Education credits is based on recommended average credit balance per General Education requirements can be found on page 9. ** Student s choice of DAW Note: Published program lengths are based on optimal course load at units per quarter for Bachelor Programs. 7 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

40 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) GUITAR 80 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE* BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) GUITAR QUARTER/CREDIT BREAKD0WN COURSE CREDIT Q Q Q3 Q Q5 Q6 Q7 Q8 Q9 Q0 Q Q = 8 CREDITS Private Lesson 3- Guitar Performance Bachelor Performance - Guitar Technique 0-0 Guitar Reading BACHELOR SUPPORTIVE MUSIC = 7 CREDITS DAW & Sibelius Notation Style Survey BACH Ensemble - Music History - Contemporary Arranging -5 Directing and Conducting Contemporary Music Instruction Logic & Pro Tools 0 & 0 Sophomore Jury Prep / Sophomore Jury Senior Jury Prep / Senior Jury 8 0 BACHELOR PROF. DEVELOPMENT = 3 CREDITS Applied Entertainment Business = 9 CREDITS Harmony & Theory 0-80 Ear Training 0-60 Keyboard Proficiency GENERAL ED* = 5 CREDITS = 8 CREDITS *See General Education Transfer Credits for required credit distribution on page 73. Distribution of General Education credits is based on recommended average credit balance per General Education requirements can be found on page 9. **Student s choice of DAW Note: Published program lengths are based on optimal course load at units per quarter for Bachelor Programs. 76 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

41 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) KEYBOARD 80 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE* BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) KEYBOARD QUARTER/CREDIT BREAKD0WN COURSE CREDIT Q Q Q3 Q Q5 Q6 Q7 Q8 Q9 Q0 Q Q = 8 CREDITS Private Lesson 3- Keyboard Performance Bachelor Performance - Keyboard Technique 0-0 Keyboard Reading BACHELOR SUPPORTIVE MUSIC = 7 CREDITS DAW & Sibelius Notation Style Survey BACH Ensemble - Music History - Contemporary Arranging -5 Directing and Conducting Contemporary Music Instruction Logic & Pro Tools 0 & 0 Sophomore Jury Prep / Sophomore Jury Senior Jury Prep / Senior Jury 8 0 BACHELOR PROF. DEVELOPMENT = 3 CREDITS Applied Entertainment Business = 6 CREDITS Harmony & Theory 0-80 Ear Training GENERAL ED* = 5 CREDITS = CREDITS 3 3 *See General Education Transfer Credits for required credit distribution on page 73. Distribution of General Education credits is based on recommended average credit balance per General Education requirements can be found on page 9. **Student s choice of DAW Note: Published program lengths are based on optimal course load at units per quarter for Bachelor Programs. 78 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

42 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) VOCAL BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) VOCAL 80 CREDITS / QUARTERS REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE* QUARTER/CREDIT BREAKD0WN COURSE CREDIT Q Q Q3 Q Q5 Q6 Q7 Q8 Q9 Q0 Q Q = 50 CREDITS Private Lesson 3- Vocal Performance Vocal Technique BACHELOR SUPPORTIVE MUSIC = 5 CREDITS Sightsinging 0-0 Vocal Creativity 30-0 DAW & Sibelius Notation Style Survey BACH Ensemble Music History - Contemporary Arranging -5 Directing and Conducting Contemporary Music Instruction Logic & Pro Tools 0 & 0 Sophomore Jury Prep / Sophomore Jury Senior Jury Prep / Senior Jury 8 0 BACHELOR PROF. DEVELOPMENT = 3 CREDITS Applied Entertainment Business = 9 CREDITS Harmony & Theory 0-80 Ear Training 0-60 Keyboard Proficiency -3 GENERAL ED* = 5 CREDITS 5 = CREDITS *See General Education Transfer Credits for required credit distribution on page 73. Distribution of General Education credits is based on recommended average credit balance per General Education requirements can be found on page 9. **Student s choice of DAW Note: Published program lengths are based on optimal course load at units per quarter for Bachelor Programs. 80 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 8

43 BACHELOR OF MUSIC IN PERFORMANCE MINOR BACHELOR OF MUSIC IN PERFORMANCE MINOR Not ready to stop? Get a Minor! AUDIO PRODUCTION [+30 CREDITS*] MUSIC INDUSTRY STUDIES [+30 CREDITS*] BACHELOR OR BACHELOR Q5 MINOR AREA AUDIO-0 AUDIO-0 AUDIO-09 AUDIO-0 AUDIO-05 AUDIO-08 AUDIO-07 AUDIO-08 AUDIO-03 Recording Techniques Console Operation : Neve Console Operation : API The Business of Audio Critical Listening Recording Theory Mac Basics and Gear Set-Up Recording Theory Pro Tools 0 & 0M Q6 MINOR AREA AUDIO-0 AUDIO-0 AUDIO-06 AUDIO-07 AUDIO-08 Console Operation : SSL Duality Mixing Essentials Intro to Live Sound Intro to Post Production Signal Processing 3 6 Q5 MINOR AREA MUBUS-0 MUBUS-0 MUBUS-03 MUBUS-0 MUBUS-05 MUBUS-06 MUBUS-07 MUBUS-08 Varioius Music Law Computers in Business Record Labels Your Music Business Career Agents & Bookings Digital Marketing Music Publishing Personal Management Q6 MINOR AREA MUBUS-0 MUBUS-0 MUBUS-03 MUBUS-0 MUBUS-05 MUBUS-06 MUBUS-07 Music Law Media Relations Music Distribution Concert & Tour Production Music Industry Internship Networking Strategies Music Licensing & Supervision TOTAL 5 TOTAL 5 TOTAL 5 TOTAL 5 *See General Education Transfer Credits for required credit distribution on page 73. Distribution of General Education credits is based on recommended average credit balance per General Education requirements can be found on page 9. Note: Published program lengths are based on optimal course load at units per quarter for Bachelor Programs. 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

44 NON CERTIFICATE NON-CERTIFICATE SUMMER SHOT Summer Shot is a sneak peek into the variety of programs offered at MI. The week long music camp is intended for all ages, experience levels and styles of music. Along with MI s expert faculty, students learn from special guest artists who perform professionally with some of the top names in the music industry. Summer Shot includes separate week-long sessions for Performance and Artist Development. Two separate weeks of Summer Shot are offered annually between the Spring and Summer quarters, giving students the opportunity to participate in two different sessions. Updated details are available at summershot.mi.edu. ELIGIBILITY There are no specific academic entrance requirements for Summer Shot. HOW TO APPLY TO SUMMER SHOT Please send the following items together by mail or (admissions@mi.edu):. Completed application form.. $50.00 (USD) application fee. APPLICATION REVIEW AND NOTIFICATION Class sizes are limited and placement priority is given to applications in the order accepted. Fully completed applications are reviewed for acceptance on an ongoing basis. Accepted applicants will be notified by mail or telephone. Applicants who are not accepted will be notified by mail or telephone. SCHEDULING/REGISTRATION/ORIENTATION Summer Shot students are expected to arrive prior to the start of classes for Scheduling, Registration, and Orientation. For updated information, visit summershot.mi.edu. MI SELECT & MI SELECT EXPRESS MI Select & MI Select Express (formerly known as Encore and Encore Express ) are non-certificate programs designed to provide students with a taste of MI as an alternative to enrolling in full-time degree or certification programs. Students can create their own customized schedule from available classes and workshops, while enjoying access to the music library, special guest clinics, extracurricular activities, and other industry networking opportunities. Enrollment is available at the beginning of any quarter, and may be repeated for additional quarters. MI Select features a full-time/0-week schedule, while MI Select Express has a flexible 5-week schedule. MI SELECT The class schedule is based on an initial evaluation and consultation with the MI Select student s program chair, where the student is provided with a list of available courses appropriate to the student s level of knowledge and skill. Note: Course offerings vary by quarter and some courses and programs are not available for MI Select enrollment. Private Lessons are available for MI Select students enrolled in a minimum of units (Full Time). Sessions include weekly, one-hour private lessons on the student s primary instrument. The Instructor and student jointly develop a lesson plan based on the student s particular interests and the instructor provides general guidance throughout the program. Note: Requests for private lessons with a specific instructor are subject to instructor availability. ACCESS Students enrolled in a minimum of 9 units have -hour access to MI s facilities for practice and rehearsal, access to extra-curricular activities and the library, and admission to clinics and seminars offered during the student s period of enrollment. MI SELECT EXPRESS MI Select Express follows the same customizable philosophy as MI Select, but offers greater flexibility for students who cannot commit to the full 0 weeks of study. After an initial evaluation, the MI Select Express student s program chair provides a list of available courses appropriate to the student s level of knowledge and skill. From that list, the student creates a 5-week, full-time (5 units) class schedule. Private lessons are not available to MI Select Express students. IMPORTANT ADDITIONAL INFORMATION Financial Aid: MI Select & MI Select Express are not eligible for State or Federal financial aid. Materials: MI Select & MI Select Express students are entitled to receive curriculum and other materials applicable to courses included in their official course schedule only. Fees: MI Select & MI Select Express students are responsible for all applicable fees; see Tuition and Fees for specific information. Course Credit: Courses taken during MI Select & MI Select Express session do not earn course credit. Attendance or completion of any course does not guarantee subsequent advanced placement in a certificate or degree program. PRO TOOLS CERTIFICATIONS The Avid Pro Tools certification courses are nonaccredited courses designed for those who wish to acquire their Avid User and/or Operator Certification through weekend classes at Musicians Institute. The 00 Level (User) Certificate focuses on the basic concepts and theory involved in using a digital audio workstation. Students will be able to set-up an Avid ProTools session for recording, importing audio, editing, recording MIDI, backing-up data, working with fire wire drives, and more. The 00 Level (Operator) Certificate explores powerful Avid Pro Tools editing and processing functions, including plug-ins, automation, synchronization, quantization, mastering and more. NON-CERTIFICATE Each course requires 8 hours of weekend class time to prepare for the appropriate exam. An additional hours of open lab time (non-proctored) will be available after each day for student use. For more information, including dates, times and rates, please visit: protools.mi.edu ELIGIBILITY Students must have Basic computer knowledge including the ability to use a keyboard, mouse and an Apple or Windows based operating system. Minimum age is 6 years old (High School diploma/ged is not required) HARDWARE REQUIREMENTS Stereo Headphones (Student will need to bring to the first day of class): Any brand / plug HOW TO APPLY Please visit: protools.mi.edu. Complete the application form under the Sign Up Tab.. $00.00 (USD) application fee is required. NON CERTIFICATE 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. *As a non-certificate program, MI Select and MI Select Express is not eligible for U.S. or State government financial aid. 85

45 NON CERTIFICATE WORKSHOPS WORKSHOPS & ENSEMBLES Workshops and Ensembles provide students with a wide range of opportunities to gain valuable performing experience as well as meet their academic requirements. Concentrating in one area or sampling a variety of styles is recommended according to each student s needs. Live performance courses are offered in three general categories: LIVE PERFORMANCE WORKSHOPS (LPW) - STYLE & REPERTOIRE Staffed by experienced instructors, performers and guest artists, these LPW use a tune of the week format. Students prepare parts in advance, perform on stage with other students, and receive coaching and critique on their musical and performing skills. In addition to MI faculty, featured guests have included Wayne Kramer (MC5), D.H. Peligro (The Dead Kennedys), Brent Harding (Social Distortion), Annabella Lwin (Bow Wow Wow), and others. An LPW is a great way for students to meet each other, learn about different styles, and develop their repertoire. Style & Repertoire LPW include: Blues Classic Rock Country Modern Rock Hard Rock Rock Repertoire Metal Punk American Songbook Contemporary R&B Hip-Hop Old School Hip Hop Fusion Funk Billboard Hot 00 K-Pop Jam Band Brazilian Old School Hip Hop Neo Soul Soundtrack One World Sax Centric Power Trio Latin Latin Pop Reggae Note: LPW offerings vary by quarter; check current course schedule for availability. Due to the course requirements and time commitments required of students enrolled in LPW, it is not advisable to enroll in more than two separate LPW courses in any single LIVE PERFORMANCE WORKSHOPS (LPW) Besides the Style and Repertoire LPW classes, students have many other opportunities in which to earn LPW credits. Real World LPW: Students perform contemporary styles while sight reading charts and following the direction of a musical director. Traditional Jazz Ensemble: Students form ensembles at the beginning of each quarter to perform jazz styles while reading charts and following the direction of a musical director. The Jazz Improvisation LPW: Students gain stylistic range and improvisational skills under the guidance of a musical director. Set ensembles are set at the beginning of each Contemporary Jazz Ensemble LPW: Students Perform jazz/ fusion styles while reading charts and following the direction of a musical director. The Coffee House LPWs: Due to their popularity, the Coffee House LPWs meet three nights a week under the guidance of different instructors experienced in songwriting, production, and live performance. Students form solos, duo, and trios to perform original songs and/or arrangements. HAWTHORNE AVE CAMPUS Musicians Institute s central Hollywood campus includes facilities devoted to a variety of programs and purposes. The 60,000-square-foot Main Complex is open hours a day, seven days a week, except holidays. It includes several performance venues, recording studios, classrooms, practice and private lesson rooms, a library, and more. 5 Green Room Stage Security 50 PERFORMANCE CLASSROOMS Women Mail Room UTB Patio CONCERT HALL TECH OFFICE Men AE STUDIO D Restrooms Utility Closet 0 UTB MICRO MARKET STUDIO OFFICE 90 AE STUDIO C DAW LAB UTB Studios AE LIVE SOUND CLASS ROOM AE THX STUDIO E Vocal Booth Isolation Booth ST FLOOR HIGHLAND AVE Security UTB PLAYERS SUPPLY STORE UTB Main Lobby PERFORMANCE CLASSROOM AE STUDIO F AE STUDIO A Audio Control Room COMPOSITION/AE/IAP STUDIO MCCADDEN PLACE The Passage: First Floor REGISTRAR The Passage FINANCIAL AID STUDENT BILLING ARTIST SUPPORT CENTER ARTIST LOUNGE Passage Performance Rooms (3 levels) HOLLYWOOD BLVD CAMPUS 86 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

46 CAMPUS CAMPUS ND FLOOR 3RD FLOOR 9 3 VOCAL PRIVATE LESSON KEYBOARD TECH. LABS VOCAL PRIVATE LESSON ROOM Women COMPOSITION IAP / SONGWRITING PRIVATE LESSON ROOMS 3 37 DJ PRACTICE ROOMS 39 GUITAR & BASS PRIVATE LESSON & LABS KEYBOARD CLASSROOMS 7 9 KEYBOARD PROJECT STUDIOS 5 GUITAR & BASS PRIVATE LESSON & LABS 5 Women Men SERATO & TRAKTOR CONTROLLERISM LABS ABLETON LAB CLASSROOMS 339 DRUM PRIVATE LESSON ROOMS DL3 DL DL 36 DRUM SERVICE DL DL DL Men DL3 CAMPUS 9 GUITAR & BASS PRIVATE LESSON & LABS DJ PRACTICE ROOM 8 6 GUITAR & BASS LABS PRIVATE LESSON & LABS 36 0 VINYL/CDJ/ TURNTABLISM LAB MUSIC LIBRARY 85 MAC WORK STATIONS BOSS + 5 M AUDIO JAM STATIONS STUDENTS CAN CHECK OUT INSTRUMENTS, VIDEOS, SHEET MUSIC, EBOOKS, +MORE VL VL VL3 VL VL5 58 VL0 VL8 VL6 VL VL VL9 VL7 VL5 VL3 VL VOCAL LABS VOCAL PL KEYBOARD TECH. LABS Staff Lounge VOCAL PRIVATE LESSON ROOM 65 BASS STUDIO GUITAR STUDIO DRUM PRIVATE LESSON ROOMS ELECTRONIC DRUM KIT CLASSROOMS 360 AC Duct 37 DL39 DL0 DL6 DL6 DL37 DL38 DL8 DL7 DL35 DL36 DL0 DRUM LABS DL8 DL50 DL5 DL6 DL33 DL3 DL9 DL7 DL3 DL3 DL30 DL8 DL DL3 DL6 DL8 DL5 DL7 DL9 DL DL3 DL5 DL7 DL5 DL DL3 DL DL DL0 DL9 CAMPUS 03 0 Copy Room VOCAL PRIVATE LESSON ROOM IAP STUDIO 7 DRUM STUDIO 39 DRUM PRIVATE LESSON ROOMS Custodian Elevator UPRIGHT BASS LAB IAP STUDIO IAP STUDIO 8 DAW LAB ROOM 77 IAP LAB IAP STUDIO Elevator 393 CLASSROOMS 88 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

47 CAMPUS CAMPUS GUIDE Please use the following guide to find the proper locations for your specific needs. Changing MI Programs Locker Sign-Ups Registrar Office West side of The Passage, st Floor Artist Support Center West side of The Passage, st Floor Changing Instructors or Class Times Lost MI ID Card Registrar Office West side of The Passage, st Floor Security Desk McCadden Entrance 655 N. McCadden Place CAMPUS Dropping Classes Registrar Office West side of The Passage, st Floor Financial Aid & Scholarships Financial Aid Office East side of The Passage, st Floor Housing Parent Needs to Find Student / Locate Lost Child Student Affairs Office in Artist Support Center West side of The Passage, st Floor studentaffairs@mi.edu Paying Fees Student Billing Office West side of The Passage, st Floor studentbilling@mi.edu CAMPUS Student Affairs Office in Artist Support Center West side of The Passage, st Floor Ask for Housing Coordinator studentaffairs@mi.edu Instructor Did Not Show Up for Student s Class Posting Flyers Student Affairs Office in Artist Support Center West side of The Passage, st Floor studentaffairs@mi.edu Practice Room Reservations Student Affairs Office in Artist Support Center West side of The Passage, st Floor studentaffairs@mi.edu Artist Support Center West side of The Passage, st Floor asc@mi.edu Locating an Instructor Visiting Friends/Family of Students Registrar Office West side of The Passage, st Floor registrar@mi.edu Security Desk McCadden Entrance 655 N. McCadden Place Student will need to fill out a Security Permission Form 90 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 9

48 CAMPUS CAMPUS CAMPUS MAIN COMPLEX LIVE PERFORMANCE FACILITIES Concert Hall The 500-capacity Concert Hall is the centerpiece of Musicians Institute s performance facilities, boasting a stage area of 900 square feet, fixed theater seating, and a comfortable backstage green room. The Concert Hall is MI s primary venue for concerts, seminars and clinics from world-renowned visiting special guests; as well as student performances, workshops and auditions. The state-of-the-art hall is equipped with top professional video and audio production gear, including amplifiers and speaker enclosures, dual large-screen video projectors, and a variety of multi-colored concert lighting options. The area s backline features a variety of top-of-the-line drum kits, keyboards, microphones, guitar and bass amplifiers, monitors and a front-of-house sound system. Performance Rooms Eight performance rooms, between 800 to,000 square feet each, seat 5 to 50 people and are fully equipped for Live Performance Workshops. Each room contains a complete PA system and an assortment of guitar and bass amplifiers, keyboards, and drum sets. These rooms are located at 5, 50, 55, 90, PASS0, PASS0, PASS30 and PASS30. Note: All performance stages are handicappedaccessible. RECORDING AND PRODUCTION FACILITIES MI s extensive recording facilities, ranging from top-of-the-line professional studios to project studios and recording classrooms, include industry-standard recording and mixing systems, complemented by an extensive array of professional microphones and outboard gear. AUDIO ENGINEERING STUDIOS Studio A Features a large tracking room for live band recording, an SSL Duality SE -Channel Hybrid analog/digital console, an Avid Pro Tools HD X 9 interface, I/O digital audio recording system, and Otari MTR 90 analog reel-to-reel recorder. Studio B A 5. surround mixing/editing suite outfitted with AVID Artist Control and Artist Mix components, a Dangerous Music Monitoring System and an AVID Pro Tools HD system. Studio C Features a API channel analog console and an Avid Pro Tools HD system with three 96 interfaces. Studio D A Rupert Neve Designs channel analog console with an AVID Pro Tools HD X System. Studio E A world-class THX-certified dubbing stage equipped with a 8-channel Avid ICON D-Control console and an Avid Pro Tools HD recording system. Studio F The newest MI studio sports an Avid Euphonix S5 Fusion console, an Avid Pro Tools HD X recording system, and a variety of high-end outboard gear. INDEPENDENT ARTIST STUDIOS Studio 0 Multi-purpose studio with isolated tracking and mix rooms. Equipped with DW drum kit; Fender guitar amp, Budda guitar amp; Neumann, Royer, and AKG microphones; as well as outboard gear from Avalon, API, Universal Audio, Chandler Ltd., and Apogee. This studio features Mac workstations, each equipped with Avid Pro Tools, Logic Pro X, Reason 9, Digital Performer 8, Ableton Live 9.5 Standard, Waves Gold Bundles, Waves Renaissance Max, McDSP Everything bundle, Sonnox and Softube Plugin Bundles, Eosis Air EQ Premium, Native Instruments Komplete 0, Arturia C-Collection, Focusrite Scarlett i s and MIDI controllers. Studio 0 Multi-purpose studio with Yamaha U3 upright piano, Mesa guitar amp, Neumann, Mojave, and Shure microphones, Dynaudio monitors and Avalon channel strips. This studio features Mac workstations, each equipped with Avid Pro Tools, Logic Pro X, Reason 9, Digital Performer 8, Ableton Live 9.5 Standard, Waves Gold Bundles, Waves Renaissance Max, Max DSP Everything bundle, Sonnox and Softube Plugin Bundles, Eosis Air EQ Premium, Native Instruments Komplete 0, Adobe Creative Cloud, Arturia C-Collection, Focusrite Scarlett i s and MIDI controllers. Studio 03 Production/mixing studio equipped with Neumann and Shure microphones, Adam monitors, Avalon channel strip, Yamaha Motif Keyboard, Stanton Vinyl Turntable and Native Instruments Maschine. This studio features Mac workstations, each equipped with Avid Pro Tools, Logic Pro X, Reason 9, Digital Performer 8, Ableton Live 9.5 Standard, Waves Gold Bundles, Waves Renaissance Max, McDSP Everything bundle, Sonnox and Softube Plugin Bundles, Eosis Air EQ Premium, Native Instruments Komplete 0, Adobe Creative Cloud, Arturia C-Collection, Focusrite Scarlett i s and MIDI controllers. Studio 0 Production studio equipped with Moog Little Phatty Synthesizer, Native Instruments Maschine Mikro, standalone computer loaded with a variety of commercial virtual instruments, Dynaudio monitors, and a Roland A-88 weighted MIDI controller. This studio features Mac workstations, each equipped with Avid Pro Tools, Logic Pro X, Reason 9, Digital Performer 8, Ableton Live 9.5 Standard, Waves Gold Bundles, Waves Renaissance Max, McDSP Everything bundle, Sonnox and Softube Plugin Bundles, Eosis Air EQ Premium, Native Instruments Komplete 0, Adobe Creative Cloud, izotope plugins (RX5, Ozone 7 Advanced, Nectar ), Melodyne Editor, Autotune 8, Arturia C-Collection, Focusrite Scarlett i s and MIDI controllers. CAMPUS 9 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

49 CAMPUS CAMPUS DJ PERFORMANCE AND PRODUCTION PROGRAM LABS AND PRACTICE ROOMS Vinyl/CDJ/Turntablism Lab (MI-36) This DJ Performance lab facility features standing workstations equipped with Technics SL-00 (Mk5G, Mk5, Mk6) Vinyl Turntables, Pioneer DJ CDJ-000 NXS and XDJ-000 Media Players, Pioneer DJ DJM-S9 and Traktor Z DJ Mixers, Traktor F Controllers, Pioneer Pro Audio RM-07 Studio Monitors. PRODUCTION LABS DAW Labs (MI-0, MI-77, HIGH-5, MBH-0, MBH-0) These Audio Engineering recording and teaching lab facilities feature Mac workstations, each equipped with an Avid Pro Tools, Logic Pro X, Reason 9, Ableton Live 9.5 Standard, McDSP Everything bundle, Sonnox and Softube Plugin Bundles, Eosis Air EQ Premium, Adobe Creative Cloud, Arturia C-Collection, Focusrite Scarlett i s and MIDI controllers. Serato & Traktor Controllerism Lab (MI-33) This DJ Performance lab facility features standing workstations equipped with Pioneer DJ DDJ-SX, DDJ-SR and Traktor SMk and S8 Controllers, Pioneer Pro Audio RM-07 Studio Monitors. Pro Tools HD Lab (MBH-03, MBH-0) Audio Engineering students learn digital recording techniques on Apple Mac workstations with Avid Pro Tools, Logic X, Waves Gold Bundles, Reason 8, Avid Omni Interface, and Avid HD Native Thunderbolt Interfaces. Ableton Live Lab (MI-330) This DJ Performance and Production lab facility features Mac workstations equipped with MIDI controllers, Ableton Live 9.5 Suite, and Ableton PUSH controllers. The Lab also features an NFUZD electronic drum kit, a PA system and Mackie HR8 Studio monitors. Recording Techniques Lab (MI-8) This Audio Engineering lab contains Apple Mac workstations equipped with Avid Pro Tools, Logic X, Waves Gold Bundles, Reason 8, Focusrite Scarlett i s, Ni Maschines, Line 6 Pod Pro bass and guitar amp modelers. PRODUCTION STUDIOS Production Stage A fully functional 6x0 soundstage with a white cyclorama set. INSTRUMENT-SPECIFIC STUDIOS Bass, Drums, Guitar, Keyboard Technology, Vocals Each of these studios is designed to train students in the art and technique of studio performance as it relates to their specific instrument. Each is equipped with an Apple Mac, Avid Pro Tools and/or Logic Audio and related hardware, software, and outboard gear. Class And Rehearsal Facilities MI s Instrument and Vocal Programs are taught in dual-use facilities that function as classrooms during the day and student rehearsal rooms during evenings and weekends. Most are equipped with guitar, bass and keyboard amps, drum kits, PA, and audio playback systems. In addition to general-use classrooms on the Main Complex third floor, one on the second floor and two in the Highland Annex, some classrooms are customized to fit the needs of specific programs. Keyboards (MI-0, MI-5) Keyboard teaching/practice facilities include two main classrooms with 3 student keyboard stations, video-assisted instructor stations, and audio systems. This room also features DJ equipment, such as Vinyl and CDJ stations, equipped with Serato boxes. DJ Practice Rooms (MI-0, MI- and MI-3) These DJ Performance practice facilities each feature a standing workstation equipped with Technics SL-00 Mk5 Vinyl Turntables, Pioneer DJ XDJ-000 Media Players, a Pioneer DJ DJM-900 NXS DJ Mixer and Pioneer Pro Audio BULIT 7 Studio Monitors. Drums (MI-370, 375, 380) Drum-specific class/rehearsal rooms include customized padded tables designed for group drum instruction. COUNSELING AND PRACTICE FACILITIES Guitar, Bass, Keyboard 35 general-purpose counseling/practice labs are equipped with various combinations of guitar and bass amplifiers, keyboards, and other specialized equipment. All counseling labs are used for Private Lesson instruction during scheduled hours, and are otherwise available for student practice. Vocal The Vocal Program features 5 individual Vocal Labs. Each lab is equipped with a 7- inch Apple imac computer, weighted 88-key piano keyboard, mirror (to allow students to check that their vocal technique is correct), audio playback, and access to thousands of instrumental backing tracks, Apple Logic, Sibelius, and course-specific reference materials. Drums Nine Drum Counseling Labs each contain two complete drum kits for private lessons and open counseling. An additional 50 personal practice labs each contain a drum set as well as lockers for storage. Students need to provide their own pedals, cymbals, and clutch. MUSIC LIBRARY The Musicians Institute Music Library provides a wealth of media, online research databases and resources, print materials, and related equipment to support MI s educational programs. Over 80 Apple Mac workstations offer Internet as well as access to videos of visiting artist concerts, seminars, and instructional media. Students may check out CDs, CD players, books, sheet music, and instruments. Mobile printing, wireless printing, and a self-operated copy machine are available for student use. The Music Library is located in the Main Building, second floor. The hours are: Mon-Fri: 8:30 AM :00 Midnight Sat-Sun: :00 Noon - 8:00 PM Media Lab Within the library, 5 individual Apple Macbased practice stations provide software, including Guitar Rig, GarageBand, Sibelius, and Adobe Creative Suite. An additional 3 practice lab stations are equipped with instrument gear. AMENITIES Player s Supply Store MI s own music store, adjacent to the main lobby, offers a wide range of music accessories at discounted prices. These include strings, picks, drumsticks, staff paper, gig bags, tuners, instructional books, CDs, videos, MI-logo apparel, and more. Artist Lounge MI s redesigned Artist Lounge offers a comfortable place to relax, study or jam. In a room facing Hollywood Blvd., the Artist Lounge has a DJ console, sound system, TV & couches for the use of the MI community. Micro Market Located on the ground floor of the main building, the Micro Market offers a variety of premium food and drink options that are available /7; in addition to a microwave oven, televisions and tables with seating. CAMPUS CAMPUS 9 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

50 CAMPUS SPECIAL FACILITIES AND SERVICES FOR HANDICAPPED STUDENTS Main Building - First Floor: Elevator: One handicapped-equipped elevator provides service to all three floors. Lift: A hydraulic lift provides handicapped access between the main entrance and ground floor (access to upper floors is by elevator). Restrooms: There is one handicapped stall in the men s restroom and one handicapped stall in the women s restroom. The men s restroom is also provided with one handicapped urinal. Both are provided with handicapped sinks. Drinking Fountain: There are two handicapped drinking fountains. Concert Hall: Handicapped seat stations are provided in the auditorium. Access to the Concert Hall stage is provided by mechanical/electrical lift. Second And Third Floors: Drinking Fountain: There is at least one handicapped-accessible drinking fountain on each floor. Restrooms: There is one male and one female handicapped restroom on each floor. Hollywood Passage: Elevator: One handicapped-equipped elevator provides service to all three floors. DIRECTIONS MI s main complex is located at 655 N. McCadden Place, near the major intersection of Hollywood Boulevard and Highland Avenue. The main entrance is located in the alley that branches off of McCadden Place. and other trip-planning details are available at In addition, MI provides students with a free evening shuttle service to nearby apartments. Security Access Only current students, employees, and those with official business with Musicians Institute are allowed on campus or in any Musicians Institute facilities or buildings. Students must present their MI ID and scan it immediately upon entering or exiting MI facilities or buildings. Information from these scans is logged and can be used as documentation of attendance at and/or use of the facilities at MI. All personnel are required to have ID visible at all times while on campus. Visitors must check in with Security upon entering the MI campus or any MI buildings/facilities. Administration Most of MI s administrative offices are housed in the Hollywood Passage building, including Artist Support Center, Office of Academic Affairs, Registrar, Admissions, Financial Aid, Marketing, and Instructional and Information Technology Services. Human Resources, The Operations Department and Accounting are housed in the Hawthorn Annex on Hawthorn Avenue across from the main MI building. CAMPUS Parking Parking is available nearby at daily and monthly rates. Metered and street parking options are also available. Public Transportation MI s main campus is located near the Hollywood/Highland stop on the Metro Red Line subway. A variety of convenient bus routes 96 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

51 CAMPUS ADDITIONAL FACILITY LOCATIONS MI s campus also includes the following areas: CAMPUS GUITAR CRAFT FACILITIES Guitar Craft Annex (Classrooms, Workshops): 690 Santa Monica Boulevard, one-and-a-half blocks west of Highland Avenue. Guitar Craft Building (Classrooms, Workshops): 7070 Santa Monica Blvd. at the corner of La Brea Avenue. Hawthorn Annex (Administration): 6 N. McCadden Place; one block south of Hollywood Boulevard and one block east of Highland Avenue (opposite the Main Building entrance) CAMPUS Highland Annex (Classrooms, Lesson/Practice Rooms, Recording Lab): 6 N. Highland Avenue; one block south of Hollywood Boulevard on the corner of Hawthorn Avenue. CAMPUS Hollywood Passage (Administration, Artist Support Center, Performance Rooms): 675 Hollywood Boulevard, one half-block east of Highland Avenue Music Business Annex (Classrooms, Computer Lab): 58 N. Highland Avenue, one half-block north of Sunset Boulevard. The Guitar Craft facilities contain state-of-the-art workshop equipment, including industry-standard tools & technology used for the design, fabrication, electrical wiring and repair of guitars and basses. 98 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

52 CAMPUS CONCERT HALL CAMPUS CONCERT HALL MI s backline features a variety of top-of-theline drum kits, keyboards, microphones, guitar and bass amplifiers, monitors and a front-of-house sound system. CAMPUS CAMPUS The 500-capacity Concert Hall has a stage area of 900 square feet, fixed theater seating, and a comfortable backstage green room. 00 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 0

53 CAMPUS STUDIOS & LABS CAMPUS Left: Studio A Below (left to right): Studio F, Studio E (THX) CAMPUS CAMPUS MI s extensive recording facilities range from top-of-the-line professional studios to project studios and recording classrooms. 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

54 COURSES COURSE DESCRIPTIONS AUDIO ENGINEERING // AUDIO ENGINEERING AUDIO-0 RECORDING TECHNIQUES () This course focuses on the techniques of recording drums, bass, different types of guitars, vocals, piano and more, as they pertain to building a complete, multi-track arrangement. Upon completion, students will be able to demonstrate the process of mic ing single instruments. One lecture hour per week for one AUDIO-0 CONSOLE OPERATION : NEVE () Students will be shown signal flow as it applies directly to high-end professional consoles while working on a Rupert Neve Designs Upon completion, students will understand how to route signals for tracking, overdubbing, and mixing. One lecture hour and two lab hours per week for one AUDIO-09 CONSOLE OPERATION : API () Students will be shown signal flow as it applies directly to high-end professional consoles while working on an API 608 analog console. Upon completion, students will be expected to demonstrate how to route signals for tracking, overdubbing, and mixing while tracking and overdubbing single instruments. One lecture hour and two lab hours per week for one AUDIO-03 PRO TOOLS 0 & 0 () This course focuses on the basic concepts and theory involved in using a digital audio workstation. Students will be able to set-up an Avid Pro Tools session for recording, importing audio, editing, recording MIDI, backing-up data, working with FireWire drives, and more. Completion of this course prepares students to take the Avid Pro Tools Certified User Exam. Two lecture hours and four lab hours per week for one AUDIO-0 THE BUSINESS OF AUDIO () Students gain a comprehensive overview of operating a business as an audio engineer or producer. Topics include: music budgets, invoicing, finances, and basic accounting methods to legally setting up their own business. Students also discuss the challenges of the new business model as well as industry definitions and roles. One lecture hour per week for one AUDIO-05 CRITICAL LISTENING () Students are exposed to various musical content and production styles. Identifying frequencies and key instruments will be an integral part of this class, along with the equipment and processes involved in producing commercial recordings. Two lecture hours per week for one AUDIO-06E FOR AUDIO ENGINEERS () Successful completion of this course or equivalency exam is a Prerequisites for all electives. Students will be introduced to basic rhythmic notation on the staff, including the basics of harmony and theory that are discussed between producers, engineers, and musicians in the studio. Upon completion, students will be able to differentiate between major vs. minor chord qualities, Roman numeral harmony, song form, and the basics of chart creation. Two lab hours per week for one AUDIO-07 MAC BASICS & GEAR SET-UP () This course demonstrates how to set up and operate a basic project studio workstation. Vital file management techniques for content creators and a thorough study of the Mac Operating System and its built-in applications will be covered. Upon completion, students will be able to install, wire and configure audio interfaces, basic analog mixers and all the necessary audio components such as monitors, headphones, MIDI controllers and microphones. One lecture hour per week for one AUDIO-08 RECORDING THEORY () Students are introduced to the fundamentals of analog recording theory and practice, including an overview of studio components. EQ and filters, dynamic processors, microphones, auxiliary routing and effects processors will be covered. One lecture hour per week for one AUDIO-03 PRO TOOLS 0 & 0M () Prerequisites: AUDIO-03 Pro Tools 0 & 0. This course explores powerful Avid Pro Tools editing and processing functions, including plug-ins, automation, synchronization, quantization, mastering and more. Completion of the course prepares students for the Avid Pro Tools Certified Operator exam, which once passed, adds them to Avid s official listing. Two lecture hours and four lab hours per week for one AUDIO-0 CONSOLE OPERATION : SSL DUALITY () Prerequisites: AUDIO-0 Console Operation : Neve. Students will be shown signal flow as it applies directly to high-end professional consoles while working on an SSL Duality console. Upon completion, students will understand how to route signals for tracking, overdubbing, and mixing. One lecture hour and two lab hours per week for one AUDIO-0 MIXING ESSENTIALS (3) Pre-Requisites: AUDIO-09 Console Operation I: API. Course focuses on professional mixing and mastering techniques. Topics include fader balance and automation, lifting instruments with EQ and corrective EQ blueprints, editing and gating techniques, compressor and limiter settings, imaging, and time-based processors. During a weekly Project Advisor meeting, students discuss progress and receive advice and critiques on their mandatory Final Recording Project. Two lecture hours and two lab hours per week for one AUDIO-06 INTRO TO LIVE SOUND () Students will be introduced to the fundamentals of live sound engineering. FOH ( front of house ) mixing, monitor mixing, and set-up/tear-down procedures will be covered in a working, 500-seat concert hall environment or medium-sized venue. World-class musicians in a variety of styles provide the music. Two lab hours per week for one AUDIO-07 INTRO TO POST- PRODUCTION () Students are exposed to the fundamentals of audio postproduction concepts and techniques, including sound effects editing, dialogue editing, Foley, and 5. surround mixing for film and television. Weekly hands-on projects culminate in a final project. One lecture hour per week for one AUDIO-08 SIGNAL PROCESSING () This course focuses on how to operate professional signal processing gear, including traditional in-line processors (compressor, gate, EQ), effects processors (reverb, delay, chorus, pitch shift), and both Avid Pro Tools and third party plug-ins. Two lecture hours per week for one // AUDIO ENGINEERING Note: Audio Engineering students must complete their elective requirements from the following program-specific electives only. ENTRY-LEVEL // AUDIO ENGINEERING Note: Successful completion of AUDIO -06E Musicianship or equivalency exam is a Prerequisites for all electives. AUDIO-06E BEAT MAKING AND MASCHINE () Prerequisite: Successful completion of AUDIO-03 ProTools 0 & 0. An introduction to the use and utility of Maschine Sampler software. Students will be exposed to modern production and programming techniques using Native Instruments Maschine. Upon completing this course, students will be able to create beat sequences as well as more complex productions and remixes using the Maschine software and hardware suite. This course is equivalent to ARTST-06E Beat Making and Maschine. Two lab hours per week for one AUDIO-05E MUSIC PRODUCTION () Prerequisites: AUDIO-06E Musicianship for Audio Engineers, or passing placement exam. This course exposes students to the ins and outs of both the business and creative sides of album production. Classes are handson, intensive, and based in real-world situations, covering concepts such as budgeting, choosing studios and musicians, working with engineers and management, and finessing the best performance out of artists. Two lab hours per week for one ADVANCED // AUDIO ENGINEERING Note: For full details, refer to the course description for each prerequisite named in your elective of interest. COURSE DESCRIPTIONS AUDIO-05E LOGIC () Prerequisites: AUDIO-06E Musicianship for Audio Engineers, or passing placement exam. This course introduces songwriters, composers, producers and sound engineers to the primary features and basic user interface of Logic Pro X. Upon completion, students will understand the process of creating an actual song. Preproduction using Apple Loops, recording/editing audio, arranging of tracks and producing drum beats with a virtual drummer will be touched on. This course covers the requirements needed to take the Apple Certified Pro Level One exam in Logic Pro X (Part of ). Two lab hours per week for one AUDIO-056E REASON () Prerequisites: AUDIO-06E Musicianship for Audio Engineers, or passing placement exam. Propellerhead s Reason software has long been used for traditional beat making and sequencing for MIDI. Upon completion of this course, students will be able to navigate through the software, including the various windows (main mixer, rack, and sequencer), route audio signal and MIDI, and create basic tracks. Integration of audio loops will also be touched upon as well as a basic understanding of computer set-ups and Digital Audio Workstations (DAWs). Two lab hours per week for one AUDIO-50E AUDIO INTERNSHIP () Prerequisites: Audio-0 The Business of Audio, 3.5 minimum GPA. Students gain practical professional experience in working recording studios, production houses, mastering labs, or live sound venues as engineering assistants. Hours and schedules vary according to the specific position obtained; minimum of five hours per week for one AUDIO-5E ELECTRONICS () Prerequisites: AUDIO-08 Recording Theory. This course builds a firm understanding of soldering techniques, DC and AC circuits, and various technical components used in studios. Upon completion, students will create their own instrument and mic cables using traditional soldering and wiring techniques. Two lab hours per week for one AUDIO-5E LOGIC () Prerequisites: AUDIO-05E Logic. This course is a continuation of the Logic Pro X user interface for songwriters, composers, producers and sound engineers. Upon completion, students will understand how to use Logic Pro s comprehensive array of software instruments, arranging of MIDI sequences, as well as editing with Flex Time & Pitch, digital effects processing, mixing, automation and troubleshooting. This course covers the requirements needed to take the Apple Certified Pro Level One exam in Logic Pro X (Part of ). Two lab hours per week for one AUDIO-53E PROJECT STUDIO DESIGN () Prerequisites: AUDIO-05 Critical Listening. This course focuses on creating an acoustically viable space in the home or project studio environment. Students will learn how to COURSES 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

55 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES assess the acoustical problems in any spare room and learn cost-effective and practical methods to lessen their impact on the quality of the recording and mixing done in that space. Fabrication, actual studio construction, advanced electronics knowledge or specialized math skills are not required. Two lab hours per week for one AUDIO-56E REASON () Prerequisites: AUDIO-56E Reason. This course is a continuation on Reason and focuses on taking advantage of the software s capabilities. Upon completion, students will be able to morph their style by using the various modules (ReDrum, Dr. Octo Rex, Thor), advanced audio editing techniques, as well as taking advantage of the main mixer s capabilities. They will also be involved in advanced routing of signal (analog/midi) as well as the implementation of other Digital Audio Workstations (DAW s) using ReWire. Two lab hours per week for one AUDIO-058E ABLETON LIVE () A practical application of digital recording techniques using Ableton Live, this course provides an overview for songwriters and artists on the fundamentals of the recording process, including file and session setup, tracking, arranging, editing, and mixing. Upon successful completion of the course, students will be able to compose, record, and produce music using Ableton Live. Two lab hours per week for one AUDIO-58E ABLETON LIVE () Prerequisite: AUDIO-058E Ableton Live. Building on Ableton Live, this course provides a more in-depth practical application of digital recording techniques using Ableton Live, including effects, timing, pitch correction, automation, mastering, and sound for picture. Upon successful completion of this course, students will be able to produce a project from beginning to end. Two lab hours per week for one AUDIO-5E VOCAL PRODUCTION () Prerequisite: Successful completion of one of the following courses: AUDIO-03 ProTools 0 & 0, or AUDIO-057 ProTools 0, or AUDIO-05 Logic, or ARTST 0 Recording Project. Using industry standard programs ProTools and Logic, the course will explore templates, project management, EQ, compression, vocal FX, comping, bussing, vocal aligning, printing stems, and remixing techniques. Students will observe one vocal production session with a student vocalist per Upon successful completion of this course, students will be able to run a vocal session on their own and produce, record, edit, and mix vocals. This course is equivalent to ARTST-5E Vocal Production. One lecture hour per week for one AUDIO-6E MUSIC MASTERING () Corequisite: AUDIO-0 Mixing Essentials. Prerequisite: Successful completion of one of the following courses: AUDIO-057 ProTools 0, or AUDIO-05 Logic, AUDIO-058 Ableton, AUDIO-03 ProTools 0 & 0, or AUDIO-056 Reason. Students will study the theory, art, and practical applications of mastering music. Discussion and practice will include analyzing stylistic approaches for mastering various genres of music, understanding specific technical requirements for mastered products and the practical applications of typical analog and digital mastering processors. Two lab hours per week for one AUDIO ENGINEERING // POST-PRODUCTION AUDIO AUDIO-30 ADR, VOICE OVER, AND DIALOGUE FORENSICS () Prerequisites: AUDIO-03 Pro Tools 0 & 0M and AUDIO-07 Intro to Post. This course focuses on industry- standard techniques used in the recording, editing and mixing of ADR (Automated Dialogue Replacement) and Voice Over for various media (film, television, animation, video games, commercials etc.). ADR programming, ADR and Voice Over stage practices and protocols will be covered as well as hands-on experience with editing, track clean-up and final mixing techniques. Two lecture hours per week for one AUDIO-30 VIDEO GAME AUDIO () Prerequisites: AUDIO-03 Pro Tools 0 & 0 and AUDIO-07 Intro to Post. This course is designed to teach the key concepts that are essential in the creation of an engaging and immersive audio environment for video games. Students will be introduced to industry standard sound implementation software as well as its effective use in game audio design. Real world design techniques, along with overall project workflow and asset management, will be demonstrated along with hands on experience in all aspects of game audio including sound effects design, music composition, and voice over. Completion of this course prepares students to take the Avid Pro Tools 30 Certification Exam. Two lab hours per week for one AUDIO-303 FOLEY RECORDING AND EDITING () Prerequisites: AUDIO-03 Pro Tools, and AUDIO-07 Intro to Post. This course demonstrates the recording and editing techniques for footsteps, props and all other movement-specific sounds in a movie. Programming Foley cues, preparation and editing will be covered as well as understanding the different roles within a Foley team. Two lab hours per week for one AUDIO-30 FIELD RECORDING () Prerequisites: AUDIO-07 Intro to Post. Students gain a comprehensive overview of the theory and practical use of microphones, field recorders, and mixers in order to capture audio in outdoor and TV/movie set environments. This course also focuses on the organization and editing of field recorder media inside Avid Pro Tools. Two lecture hours per week for one AUDIO-305 MIXING FOR FILM AND TELEVISION () Prerequisites: AUDIO-03 Pro Tools, and AUDIO-07 Intro to Post. This course studies the complex and creative process of mixing sound and music in surround sound using the Avid Icon in MI s THX-certified stage. This course introduces critical elements of dubbing session preparation, organization, and conforming to reflect changes in the picture editing process. Two lecture hours per week for one AUDIO-306 MUSIC EDITING () Prerequisites: AUDIO-03 Pro Tools, and AUDIO-07 Intro to Post. This course focuses on the fundamental music editing techniques used to solve some of the musical demands when working on a film, or television show. Topics include: music aesthetics, music resources, editing techniques and elements of film scoring as well as hands-on experience working with songs and composed scores, temp tracks and on-camera performed music. Two lecture hours per week for one AUDIO-307 POST ESSENTIALS () Prerequisites: AUDIO-03 Pro Tools 0 & 0M and AUDIO-07 Intro to Post. This course focuses on the major disciplines of film and television post-production, including all the essential concepts, equipment, formats, workflow and scheduling of a post-production facility and project. Upon completion, students will be eligible to test for the Avid Pro Tools 0P certification. Two lecture hours per week for one AUDIO-308 DIALOGUE EDITING () Prerequisites: AUDIO-03 Pro Tools, and AUDIO-07 Intro to Post. This course focuses on hand-sync dialog, ADR, and auto- assemble production sound dailies to video using the picture editor-supplied CMX edit decision list (EDL) output from both Avid and Final Cut Pro picture editing systems. Students will be able to prepare dialog for dubbing, back-filling with ambiance for ADR, and time compression and expansion of ADR using Avid Pro Tools. Topics include: time code formats, frame rates, time-base references, and proper track layout for both dialog and ADR edit sessions in preparation for the dub stage. Two lab hours per week for one AUDIO-309 BACKGROUND & SOUND EFFECTS EDITING () Prerequisites: AUDIO-03 Pro Tools 0 & 0M and AUDIO-07 Intro to Post. Students are exposed to the aesthetics and practical skills to build a compelling background soundscape and mood for visuals. In addition, students will understand how to edit, layer and synchronize sound effects to visual, while using industry standard sound libraries. This class also emphasizes the delivery requirements for the dubbing stage. Two lab hours per week for one AUDIO-30 CONSOLE OP 3: EUPHONIX & ICON () AUDIO-0 Console Operation. This course covers the Avid Euphonix System 5 Fusion console as well as the Avid Icon D-Control. Students will study Euphonix specific hardware such as the ML530 mic pre, the MC5 monitor controller, and the SC6, the brains of the console, in pursuit of mastering the configurations for mixing and tracking inside the E-Mix software. Two lab hours per week for one AUDIO ENGINEERING // LIVE SOUND PRODUCTION AUDIO-0 MONITOR SETUP AND OPERATIONS () Prerequisites: AUDIO-05 Intro to Live Sound. As proper monitoring is essential to a successful live music performance, this course covers the fundamentals and practical applications of stage monitoring, including contemporary in-ear monitoring systems. Two lecture hours per week for one AUDIO-0 CONSOLE OP 3: VENUE AND YAMAHA () Prerequisites: Pre-Requisites: AUDIO-05 Intro to Live Sound and AUDIO-03 Pro Tools 0 & 0. Students will gain hands-on experience operating the Yamaha M7CL console as well as Avid s state-of-the-art Venue live sound production system. Setup and configuration to mixing tips and tricks, including automation/snapshot capabilities and Avid Pro Tools integration for live recording, will be covered. This course prepares students for the official Avid 0 VENUE certification exam. Two lecture hours per week for one AUDIO-0 LIVE RECORDING AND MIXING () Pre-Requisites: AUDIO-05 Intro to Live Sound. Using the industry standard ProTools editing system, students will be able to set up, record, and mix live music with a focus on advanced concepts (fader balance, automation, EQ, compression and limiting, editing and gating, basic mastering, etc.) as they apply to live event recording and mixing. Four lecture hours per week for one AUDIO-05 SOUND REINFORCEMENT ESSENTIALS () Prerequisites: AUDIO-05 Intro to Live Sound. This course offers a comprehensive overview of all the essential concepts, equipment, formats, workflow and scheduling of live music productions. Topics include: installation, acoustics, microphones and microphone placement, power amplifiers, loudspeakers, cabling, and standard nomenclature and practices of the live sound profession. Two lecture hours per week for one AUDIO-06 STAGE AND TOUR MANAGEMENT () Prerequisites: AUDIO-05 Intro to Live Sound. This course focuses on live concert and event management, including an overview of contract riders, backline, scheduling, logistics, media and accounting. Two lecture hours per week for one AUDIO-07 LIVE SOUND APPLICATIONS () Prerequisites: AUDIO-05 Intro to Live Sound. In this hands-on class, students are exposed to the daily duties of sound reinforcement engineers, including assembling sound COURSES 06 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

56 COURSES COURSE DESCRIPTIONS systems, stage setup and tear-down, sound checks, and troubleshooting. Two lecture hours per week for one AUDIO-08 EVENT PRODUCTION CONTRACTS () Prerequisites: AUDIO-05 Intro to Live Sound. This course examines the individual elements that make-up an Event, and how venue production requirements and client needs can be communicated in both written form (the contract) and verbally (the verbal advance). Industry success and survival tools such as forging vendor relationships, and communication and organizational skills are also examined. One lecture hour per week for one DJ PERFORMANCE & PRODUCTION // DJ PERFORMANCE & PRODUCTION DJ-PL PRIVATE LESSON () In a one-on-one setting, students are guided by faculty to hone certain technical and artistic aspects of their live set. Technical attention is paid to achieving convincing transitions and effective use of equipment (hardware, controllers and effects FX ). Artistic attention is paid to artistic choices, such as: songs, creative and musical use of filters, EQ and effects; and on-the-fly artistic decisionmaking. One private lesson hour per week for one DJ-058 ABLETON LIVE FOR DJS () Ableton Live is a live music solution favored by producers, DJs, beatmakers, and remix Artists. In this course, students explore this platform and learn core functionality in order to be able to create mashups and remixes, as well as how to incorporate external controllers in order to trigger cues, samples, and effects ( FX ). Two lab hours per week for one DJ-58 ABLETON LIVE FOR DJS () Prerequisite: DJ-058 Ableton Live for DJs. Building on the material of Ableton Live for DJs, students focus on gaining a deeper understanding of Ableton s instruments, effects, mapping, and audio warping. Students will also learn the techniques used to create custom live performance setups. Two lab hours per week for one DJ-0 DJ SET BUILDING () In addition to the core skills required for the art of DJ ing, it is imperative that DJs are able to apply those skills to create a cohesive experience - one with a narrative musical arc - of the same duration (a set ). This course is designed to aid students with this goal via the exploration of core set elements such as: determining a mood or theme, song selection, transitions, time management, and building intensity. One lecture hour per week for one DJ-0 DJ SET BUILDING () Prerequisite: DJ-0 DJ Set Building. Building on the concepts and techniques of DJ Set Building, focus progresses to the creation of DJ sets that are tailor-made for specific events (such as: fashion shows, inaugurations, commercial events, and radio shows), extended sets, and working with external parameters in a live setting (such as: theater and dance performers, master of ceremonies MCs, lights, etc). One lecture hour per week for one DJ-0 BEAT MATCHING (.5) A DJ s most essential skill is the ability to seamlessly match and transition between different pre-recorded songs ( tracks ) on traditional DJ equipment (defined as equipment without the ability to auto-sync ) in a live setting. The concepts and techniques presented in this course will allow students to execute this core function on any type of traditional DJ equipment. (This is done with turntables/vinyl and CDJ-NOT Serato or Traktor.) One lecture hour and one lab hour per week for one DJ-0 BEAT MATCHING (.5) Prerequisite: DJ-0 Beat Matching. Further to the concepts and techniques of Beat Matching, focus is on expanding beat matching abilities through the mastery of advanced skills such as: blending different styles, half-time blending, hard cuts, blending a cappellas, and harmonic mixing. One lecture hour and one lab hour per week for one DJ-03 DJ SOFTWARE : SERATO () An introduction to one of the industry-standard vinyl emulation computer applications: Serato DJ. The course focuses on the functionality of the Serato DJ platform, including: playback control, beat matching; absolute, relative and internal modes; the use of cue points, loops, effects ( FX ), plugins, using crates, playlists and recording. Two lab hours per week for one DJ-0 DJ SOFTWARE : TRAKTOR () To ensure a well-rounded familiarity with industry-standard vinyl emulation software, this course explores one of the most popular platforms in the world: Traktor Pro. The course focuses on the functionality of the software, including: loading and mixing tracks; synching tracks by beat, bar and/ or phrase; cue points and hot cues, loops, samples and remix decks, equalization ( EQ ), filters, harmonic mixing, effects ( FX ), macros, and recording. Two lab hours per week for one DJ-09 REMIXING () Prerequisite: DJ-058 Ableton Live for DJs. This course explores the essential techniques needed to transform a pre-existing track into a successful remix. Students will understand how to use flextime editing to change the tempo and pitch of audio stems and layer their own beats, synths, and samples. The course will also examine the difference between an official remix versus a bootleg and how to collect remix fees and royalties. One lecture hour per week for one PROFESSIONAL DEVELOPMENT // DJ PERFORMANCE & PRODUCTION DJ-05 HISTORY & ANALYSIS OF RECORDED POPULAR MUSIC () Beyond the technicality and physicality of the art of DJ ing, DJs must also be knowledgeable about the music to be played with their repertoire. This course is designed to broaden and enrich the aspiring DJ s musical repertoire by examining the different styles of music commonly performed today. This includes: Top 0, Hip-Hop, Disco, Rock, Reggae, Latin, Soul-Funk, and Electronic Dance Music ( EDM ). One lecture hour per week for one DJ-05 HISTORY & ANALYSIS OF RECORDED POPULAR MUSIC () Prerequisite: DJ-05 History and Analysis of Recorded Popular Music. Further to the material presented in the History and Analysis of Recorded Popular Music course, focus switches to the exploration of musical sub-genres. Under the guidance of faculty, students select a sub-genre in keeping with their stylistic identity and conduct independent research to identify the core elements thereof. Research results are presented to the group and defended viva voce with the presentation of critical listening examples. One lecture hour per week for one DJ-08 THE BUSINESS OF DJ ING () This course is designed to afford students an understanding of the general business aspects of the sector. Topics include: creating a business entity, filing taxes, the key personnel in a DJ s business team, performance riders; performance, recording, and personnel contracts; an overview of copyright law and the basics of publishing; along with common situations in which a DJ may find him/herself in the execution of the craft. One lecture hour per week for one MUBUS-0307 INDEPENDENT ARTIST MARKETING () This course reveals basic marketing concepts applicable to any professional business venture and focuses on the creation of a fully customized, low-budget marketing plan of attack. Furthermore, at a time when new technologies make it more possible than ever for artists to leverage their own careers, there has never been a greater need for practical, independent marketing advice. After identifying a business vision, students conduct research, set short-term goals, and create an integrated mix of marketing strategies to achieve their objective, including defining an image, brand, position, and format, identifying the target audience, gaining access to radio, as well as effectively utilizing live shows, the Internet, press, video promotion, advertising and sponsorships, sales and licensing. Students create a complete marketing plan utilizing handy templates included in the course resource, and receive useful feedback during three in-class work hours. Two lecture hours per week for one COURSE DESCRIPTIONS // DJ PERFORMANCE & PRODUCTION DJ-06 (.5) Designed for aspiring music professionals, this course is the study of popular music composition devices and their foundation in the basic music theory. This is accomplished through the analysis of popular harmonic structures, melodies, and various common rhythmic patterns. Basics of harmony and theory will be covered, including the role of melody, harmony and rhythm, major vs. minor chord qualities, Roman numeral harmonic analysis, song form and the basics of chart creation. Students will also be introduced to basic rhythmic notation and will study ear training by using popular songs as examples. Upon completing this course students will be able to effectively communicate with other musical professionals by using appropriate music terminology, which will prove invaluable during writing or recording sessions in the studio. This course is equivalent to the IAP Musicianship course (ARTST-06). This course is NOT equivalent to the Audio Engineering Department s Musicianship course (AUDIO-06). One lecture hour and one lab hour per week for one DJ-06 (.5) Prerequisite: DJ-06 or ARTST-06 Musicianship. Building on Musicianship, this course provides a more in-depth practical application of Harmony and Theory, addressing concepts such as Time Signatures, Minor Scales, Triad Cadences, Inversions, and Voice Leading. Upon successful completion of this course, students will be able to effectively communicate with other music professionals by using appropriate music terminology, which will prove invaluable during writing or recording sessions in the studio. One lecture hour and one lab hour per week for one DJ-07 SONG BUILDING () An examination of the production aspects involved in recorded music for modern DJ ing. This course focuses on providing students with production skills that are designed to elevate the quality of their recorded music to the professional level-whilst also enabling them to develop a stylistic identity, in utilization of those skills, in differentiation of their peers. Two lecture hours per week for one DJ-07 SONG BUILDING () Prerequisite: DJ-07 Song Building. Building on the teaching of Song Building, students focus on refining their stylistic identity and production skills (their unique sound ) by developing a short body of work encompassing several compositions. Advanced production techniques such as tracking, arranging, and mixing will also be covered. Two lecture hours per week for one COURSES 08 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

57 COURSES COURSE DESCRIPTIONS // DJ PERFORMANCE & PRODUCTION PROGRAM-SPECIFIC DJ-00E IOS DJ () Using the latest technology available to mobile devices such as tablets and smart phones, students will understand how to control their favorite DJ software in a reliable and effective way. Advanced features, compatibility, as well as these platforms limitations will be addressed. One lecture hour per week for one DJ-06E BEAT MAKING AND MASCHINE () Prerequisite: DJ-058 Ableton Live for DJs. An introduction to the use and utility of Maschine Sampler software. Students will be exposed to modern production and programming techniques using Native Instruments Maschine. Upon completing this course, students will be able to create beat sequences as well as more complex productions and remixes using the Maschine software and hardware suite. This course is equivalent to ARTST-06E Beat Making and Maschine. Two lab hours per week for one DJ-0E LIVE SYNC () Focusing on performance, this course will teach the aspiring DJ to play alongside live bands. Listening to fellow players, quick reaction, and complete mastery of the DJ equipment are essential to adequately complement the special kind of musical energy generated by a group of live musicians. One lecture hour per week for one DJ-E SOUND DESIGN () Prerequisite: DJ-058 Ableton Live for DJs. Building on the concepts used in Synth Programming, this course focuses on modern sound design using advanced synthesis techniques and effects. Students will be able to create synth leads, basses, pads, drums, and sound effects. All sounds will be made using subtractive, FM and wavetable synthesis as well as samplers. One lecture hour per week for one DJ-03E CONTROLLERISM FOR SERATO DJ () This course explores the new possibilities offered by DJ controllers in conjunction with Serato DJ Intro (entry-level and travel controllers) and Serato DJ (pro-controllers). Topics such as using pads, recording sets, triggering multi-effects, using loops, samples, and cue points with controllers will be covered. Students will become comfortable using the leading Serato controllers currently on the market. One lecture hour per week for one DJ-0E CONTROLLERISM FOR TRAKTOR PRO () This course explores the new possibilities offered by DJ controllers in conjunction with Traktor Pro. Topics such as using pads, recording sets, triggering multi-effects, using loops, samples, and cue points with controllers will be covered. Students will become comfortable using the leading Traktor controllers currently on the market. One lecture hour per week for one DJ-5E MAX FOR LIVE () Prerequisite: DJ-058 Ableton Live for DJs. Building on the concepts learned in Ableton Live for DJs, students focus on creating original Max for Live devices. Starting with the basic elements of the programming language up to real-world examples like building note arpeggiators, audio delays, and devices that change how Ableton Live functions in real-time. Upon successfully completion of this course, students will be able to produce their own custom Max for Live devices. One lecture hour per week for one DJ-6E SEQUENCING WITH PUSH () Prerequisite: DJ-058 Ableton Live for DJs. This course provides an in-depth look at Ableton s flagship controller, Push. Students will learn how to make beats, use the sequencer, launch clips, play melodies and chords, and edit sounds. We ll also take an in-depth look at how this powerful controller can be used for live performances. One lecture hour per week for one DJ-8E TURNTABLISM () Prerequisite: DJ-0 Beat Matching and Program Chair approval. This course introduces the concept that vinyl turntables and/or CD turntables (CDJ) can be used as rhythmic and melodic instruments. Students will understand the basic skills necessary to become proficient in this technique, such as: cutting, cueing, drops, etc. One lecture hour per week for one DJ-8E ADVANCED TURNTABLISM () Prerequisite: DJ-8E Turntablism. Building on the information and techniques of the Turntablism course, this course will explore advanced turntablism skills such as beat-juggling and will also cover the most difficult scratches, such as the One-Click Flare Orbit. Students will also be able to use these skills alongside a live band. This course is repeatable for credit. One lecture hour per week for one GUITAR CRAFT // GUITAR CRAFT GCRFT-0 ELECTRONICS () An introduction to guitar and bass electronics. Topics include: understanding magnetic, piezo, and active pickups, proper shielding techniques, switching options, and proper soldering technique as well as trouble-shooting and repair. Students will also learn how to make their own magnetic pickups, balancing output and tone to arrive at optimal tonal properties for different instruments and stylistic applications. Students are required to research a wide range of aftermarket electronics. Ten lecture hours and 0 supervised lab hours plus projects for one GCRFT-0 FRETWORK AND SETUP () In this course, students will learn essential guitar maintenance techniques used by professional technicians. String height and truss rod adjustment, intonation, fret dressing and fret replacement are covered along with effective methods for troubleshooting related problems. Students will learn principles of temperament and harmonics as well as how to adjust the instrument for proper musical feel. Eight lecture hours and supervised lab hours plus projects for one GCRFT-03 INSTRUMENT DESIGN () Every detail of an instrument s design affects its musicality and playability. This course covers principles of neck, headstock, and body design, including the weight and musical properties of various types of tone woods as well as pickguard and control cover fabrication and design, selecting instrument hardware, musical qualities of hardware materials, overview of instrument fabrication history, and template design. Eight lecture hours and supervised lab hours plus independent research assignments and design projects for one GCRFT-0 INSTRUMENT FABRICATION (6) Building outstanding instruments starts with understanding the tonal properties of wood and shaping it to produce the most musical results. This course is an introduction to the use of woodworking tools and techniques, including routing, jointing, milling, and shaping along with the use of large industrial and hand-held tools. Six lecture hours and 33 supervised lab hours plus independent fabrication projects for one GCRFT-05 INSTRUMENT REPAIR () This course covers the methodology and organization of materials and procedures for basic guitar repair and modification. Topics include: building the relationship between musician-client and technician, and communicating in musical and technical language. Twelve lecture hours plus projects for one GCRFT-0 ELECTRONICS () Prerequisites: GCRFT-0 Electronics, GCRFT-03 Instrument Design, GCRFT-0 Instrument Fabrication. A continuation of Electronics ; students learn electronic troubleshooting and wiring modifications, coil taps, phase switching, and other more advanced electronics applications. Ten lecture hours and supervised lab hours plus projects for one GCRFT-0 FRETWORK & SETUP () Prerequisites: GCRFT-0 Fretwork & Setup, GCRFT-03 Instrument Design, GCRFT-0 Instrument Fabrication. Continuation of Fretwork & Setup with emphasis on final preparation for demands of professional setup. Four lecture hours and 30 supervised lab hours plus projects for one GCRFT-03 INSTRUMENT DESIGN () Students design a tilt-back neck and body and research the design and fabrication of classic instrument designs, including the Fender Stratocaster and Gibson Les Paul. Four lecture hours and six supervised lab hours plus independent research assignments and design projects for one GCRFT-0 INSTRUMENT FABRICATION (6) Prerequisites: GCRFT-03 Instrument Design, GCRFT-0 Instrument Fabrication. The ultimate proof COURSE DESCRIPTIONS of a luthier s knowledge and skill is in the instrument itself. As the centerpiece of the program, each student designs and fabricates a personal electric guitar or bass from raw materials, including instrument bodies, necks and pickups as well as painting and buffing. Four lecture hours and 35 supervised lab hours plus independent fabrication project for one GCRFT-06 FINISH WORK (3) Prerequisites: GCRFT-03 Instrument Design, GCRFT-0 Instrument Fabrication. An instrument s finish is not only cosmetic, but can have a profound effect on its musical properties. This course covers procedures and techniques for finishing and repairing musical instruments, including preparation, painting, and buffing. Twelve lecture hours and supervised lab hours plus projects for one PERFORMANCE // GUITAR CRAFT GCRFT-07 INSTRUMENT PERFORMANCE () Private instrument instruction on electric guitar or bass with a focus on understanding the relationship between musical style, technique, sound, and instrument design. One private lesson hour per week for one GCRFT-07 INSTRUMENT PERFORMANCE () Prerequisites: GCRFT-07 Instrument Performance. Continuation of private instrument instruction on electric guitar or bass with a focus on understanding the relationship between musical style, sound, and instrument design. One private lesson hour per week for one GUITAR CRAFT // ACOUSTIC GUITAR DESIGN GCRFT-07 INSTRUMENT PERFORMANCE () Private instrument instruction on electric guitar or bass with a focus on understanding the relationship between musical style, technique, sound, and instrument design. One private lesson hour per week for one GCRFT-07 INSTRUMENT PERFORMANCE () Prerequisites: GCRFT-07 Instrument Performance. Continuation of private instrument instruction on electric guitar or bass with a focus on understanding the relationship between musical style, sound, and instrument design. One private lesson hour per week for one EMPHASIS // GUITAR CRAFT ACOUSTIC DESIGN GCRFT-303 ACOUSTIC GUITAR DESIGN () Prerequisites: GCRFT-03 Instrument Design. Every detail of an instrument s design affects ergonomics, function, sound and playability. This course covers principals of acoustic guitar neck, headstock and body design, including selection of hardware and template design. Eight lecture hours, fourteen supervised lab hours, research assignments and design projects. COURSES 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

58 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES GCRFT-30 ACOUSTIC GUITAR FABRICATION (5) Prerequisites: GCRFT-0 Instrument Fabrication. Each student builds a complete acoustic guitar from raw materials. Topics include: wood selection, sizing stock and surfacing, bracing, neck and body construction, scaling, marquetry, inlay work and setup. 0 lecture hours and 39 supervised lab hours plus projects. GCRFT-305 ACOUSTIC GUITAR FIXTURES () Prerequisites: GCRFT-03 Instrument Design. Design and manufacture of all necessary fixtures for the construction of an acoustic guitar. Includes molds, clamping fixtures and layout templates. Six lecture hours and 8 supervised lab hours. GCRFT-306 ACOUSTIC GUITAR FINISHING () Prerequisites: GCRFT-06 Finish Work. Techniques for finishing acoustic guitars, including wood preparation, filling, masking, sealing, top coating, sanding, color sanding and buffing. Eight lecture hours and fourteen supervised lab hours. GCRFT-307 INSTRUMENT PERFORMANCE 3 () Prerequisites: GCRFT-07 Instrument Performance. Private instrument instruction on acoustic guitar with focus on understanding the relationship between musical style, technique, sound and acoustic guitar design. One private lesson hour per week for one quarter INDEPENDENT ARTIST DEVELOPMENT // INDEPENDENT ARTIST DEVELOPMENT ARTST-03 ARTIST IDENTITY () This is a course in which students explore various concepts of aesthetics, with a focus on developing their own musical fingerprint, artistic identity and personal branding. Students receive an overview of all the tools necessary to establish themselves as Independent Artists when it comes to online branding, communicating in the industry and launching original content. One lecture hour per week for one AUDIO-057 STUDIO RECORDING : PRO TOOLS 0 () This course focuses on the basic concepts and theory involved in using a digital audio workstation. Students will be able to set-up an Avid Pro Tools session for recording, importing audio, editing, recording MIDI, backing-up data, working with FireWire drives, and more. When taken with AUDIO-57 (Pro Tools 0), these courses combined will serve as an equivalent to AUDIO-03 (Pro Tools 0 & 0) for students who decide to proceed into the Certificate in Audio Engineering. One lecture hour and two lab hours per week for one AUDIO-57 STUDIO RECORDING : PRO TOOLS 0 () Prerequisites: AUDIO-057 Pro Tools 0. This course is a continuation on the basic concepts and theory involved in using a digital audio workstation. Students will be able to set-up an Avid Pro Tools session for recording, importing audio, editing, recording MIDI, backing-up data, working with FireWire drives and more. When taken with AUDIO-057 (Pro Tools 0), these courses combined will serve as an equivalent to AUDIO-03 (Pro Tools 0 & 0) for students who decide to proceed into the Certificate in Audio Engineering. Completion of the course prepares students to take the Avid Pro Tools Certified User Exam. One lecture hour and two lab hours per week for one AUDIO-05 STUDIO RECORDING : LOGIC () This course introduces songwriters, composers, producers and sound engineers to the primary features and basic user interface of Logic Pro X. Upon completion, students will be exposed to the process of creating an actual song, from start to finish! Preproduction using Apple Loops, recording/ editing audio & MIDI, arranging tracks and producing drum beats with a virtual drummer, as well as basic mixing and automation techniques will be touched on. This course covers the requirements needed (Part of ) to take the Apple Certified Pro Level One exam in Logic Pro X. Two lab hours per week for one AUDIO-5 STUDIO RECORDING : LOGIC () Pre-Requisites: AUDIO-05 Logic. This course is a continuation of the Logic Pro X user interface for songwriters, composers, producers and sound engineers. Upon completion, students will be expected to demonstrate how to use Logic Pro s comprehensive array of software instruments, arranging of MIDI sequences, as well as editing with Flex Time & Pitch, digital effects processing, mixing, automation, trouble-shooting. This course covers the requirements needed (Part of ) to take the Apple Certified Pro Level One exam in Logic Pro X. Two lab hours per week for one AUDIO-056 STUDIO RECORDING : REASON () Propellerhead s Reason software has long been used for traditional beat-making and sequencing for MIDI. Upon completion of this course, students will be able to navigate through the software, including the various windows (main mixer, rack and sequencer), route audio signal and MIDI, and create basic tracks. Integration of audio loops will also be touched upon as well as a basic understanding of computer set-ups and Digital Audio Workstations (DAWs). Two lab hours per week for one AUDIO-56 STUDIO RECORDING : REASON () Prerequisite: AUDIO-056 DAW: Reason. The second level of this course focuses on using Reason as a mixing and mastering tool. Topics include EQ, compression, effects, automation, and mastering using Reason s Channel Strip. Upon successful completion, students should be able to create, edit, mix and master their work. One lecture hour per week for one AUDIO-058E STUDIO RECORDING : ABLETON LIVE () A practical application of digital recording techniques using Ableton Live, this course provides an overview for songwriters and artists on the fundamentals of the recording process, including file and session setup, tracking, arranging, editing, and mixing. Upon successful completion of the course, students will be able to compose, record, and produce music using Ableton Live. Two lab hours per week for one AUDIO-58 STUDIO RECORDING : ABLETON LIVE () Prerequisite: AUDIO-058E Ableton Live. Building on Ableton Live, this course provides a more in-depth practical application of digital recording techniques using Ableton Live, including effects, timing, pitch correction, automation, mastering, and sound for picture. Upon successful completion of this course, students will be able to produce a project from beginning to end. Two lab hours per week for one ARTST-0 RECORDING PROJECT () Learn to produce professional recordings in a project studio environment. This portion of this course focuses on recording fundamentals and the process of tracking and overdubbing. Students learn how to record their original songs using the school s studios as well as their own home setups. Specific topics include: project-studio terminology, mic choice and placement, EQ, compression and vocal production techniques. Two lecture hours per week for one ARTST-0 RECORDING PROJECT () Prerequisite: ARTST-0 Recording Project. Building on the foundation of Recording Project I, this course focuses on the mixing and mastering process. Students learn how to turn basic tracks into dynamic and professional finished products. Topics include effects, mixing, mastering, buying equipment and home-studio setup. Two lecture hours per week for one ARTST-0 PROJECT ADVISING () Working in close consultation with various project advisors, whom they are required to meet with at least once a week, students begin planning and creating their final Independent Artist project, including three or more original songs, artwork, an internet presence, a press kit and a marketing/career plan. One one-hour Project Advising meeting per week minimum for one ARTST-0 PROJECT ADVISING () Prerequisite: Project Advising. Working in close consultation with various project advisors, whom they are required to meet with at least once a week, students continue planning and creating their final Independent Artist project, including three or more original songs, artwork, an Internet presence, a press kit and a marketing/career plan. One one-hour Project Advising meeting per week minimum. ARTST-03 FINAL PROJECT () Prerequisite: Project Advising. IAP students are required to complete a culminating experience that serves as both a practicum and bridge to the professional world. This directed study project enables the student to utilize his/her research within (and experience from) our Visual Media, Recording Project, Independent Artist and Artist Identity courses. Thus, the student will work in consultation with a mentor during weeks,, 7 and 0 to develop his/her unique project, set of compositions/arrangements, DIY marketing plan, website and album art, the goal of which is a professional outcome. A committee evaluates the final project that results from the culminating experience. Four Mentoring sessions per quarter (wks,, 7 and 0). PROFESSIONAL DEVELOPMENT // INDEPENDENT ARTIST DEVELOPMENT MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS (.5) Applied Entertainment Business is the first course of a two-part series that provides all you need to know about the music business. This course covers the essentials of selecting and hiring a winning team of advisors (including attorneys, personal managers, producers, and agents) and reviews how to structure their fees, commissions, and percentages in a way that will help maximize these relationships and protect the artist. After learning about your professional team of advisors, you will receive up to-the minute information on copyrights and publishing concepts followed by an examination of working relationships. Finally, it covers business relationships and sponsorships. Overall, students will understand the latest practices, laws, and technologies shaping the music industry today. One lecture hour per week for one MUBUS-060 APPLIED ENTERTAINMENT BUSINESS (.5) Prerequisite: Applied Entertainment Business. This course follows Applied Entertainment Business, and continues to explore the music business today. Income generation is its focus, as it examines a variety of areas that involve income streams. By Illustrating and contrasting the various ways income is made, Applied Entertainment Business shows how a career in music and entertainment can be viable and sustaining. Areas this course covers include: record deals, funding projects, distribution, touring, live performance deals and merchandising. Deal points in each area are examined and contrasted with a DIY approach. One lecture hour per week for one CC-307 VISUAL MEDIA () Learn to use Adobe Photoshop to design original CD artwork, flyers, promotional tools, and other visual materials vital to modern Independent Artists. Emphasis is on creating exciting and expressive designs that directly support music marketing campaigns. Topics covered in this class include: typography, flyer design, album artwork design, image manipulation, merchandise design, and more. Two lecture hours per week for one CC-07 VISUAL MEDIA () Prerequisites: CC-307 Visual Media. The Internet has opened up an enormous opportunity for musicians to promote themselves directly to music fans. This class focuses on the technical skills needed to promote music online. Topics include: building a strong online presence, creation of a content-rich artist website, online marketing COURSES THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

59 COURSES COURSE DESCRIPTIONS tools and strategies, video editing basics, and social media. Two lecture hours per week for one MUBUS-0307 INDEPENDENT ARTIST MARKETING () This course reveals basic marketing concepts applicable to any professional business venture and focuses on the creation of a fully customized, low-budget marketing plan of attack. Furthermore, at a time when new technologies make it more possible than ever for artists to leverage their own careers, there has never been a greater need for practical, independent marketing advice. After identifying a business vision, students conduct research, set short-term goals, and create an integrated mix of marketing strategies to achieve their objective, including defining an image, brand, position, and format, identifying the target audience, gaining access to radio, as well as effectively utilizing live shows, the Internet, press, video promotion, advertising and sponsorships, sales and licensing. Students create a complete marketing plan utilizing handy templates included in the course resource, and receive useful feedback during three in-class work hours. Two lecture hours per week for one // INDEPENDENT ARTIST DEVELOPMENT ARTST-06 (.5) Designed for aspiring music professionals, this course is the study of popular music composition devices and their foundation in basic music theory. This is accomplished through the analysis of popular harmonic structures, melodies and various common rhythmic patterns. Basic harmony and theory will be covered, including the role of melody, harmony and rhythm, major vs. minor chord qualities, Roman numeral harmonic analysis, song form and the basics of chart creation. Students will also be introduced to basic rhythmic notation and will study ear training by using popular songs as examples. Two lecture hours per week for one ARTST-06 (.5) Prerequisite: ARTST-06 Musicianship. Building on Musicianship, this course provides a more in-depth practical application of Harmony and Theory, addressing concepts such as Time Signatures, Minor Scales, Triad Cadences, Inversions and Voice Leading. Upon successful completion of this course, students will be able to effectively communicate with other music professionals by using appropriate music terminology, which will prove invaluable during writing or recording sessions in the studio. Two lecture hours per week for one CC-306 SONGWRITING (.5) An introduction to songwriting through the study of the elements of contemporary song structure and style. Topics covered include: a quick-start method to songwriting;, general songwriting tips and techniques;, foundational instruction on lyrics, structure, melody, groove and chords; and an analytical study of contemporary hit songs. The course culminates in the creation of an original co-written song, to be submitted as the Final Project. One lecture hour and one workshop hour per week for one CC-06 SONGWRITING (.5) Prerequisites: CC-306 Songwriting. Building upon the foundation provided in Songwriting, this course focuses on more advanced songwriting tips and techniques, further study of lyrical development, melody, groove and chords, as well as continued analytical study of contemporary songs. One lecture hour and one workshop hour per week for one // INDEPENDENT ARTIST DEVELOPMENT PROGRAM-SPECIFIC AUDIO-059E DIGITAL PERFORMER () Using step-by-step project-based instruction, students will be guided through the basic techniques of using Digital Performer 8 as a Digital Audio Workstation (DAW) for recording, editing, mixing, and mastering a musical composition. Upon successful completion of this course, students will be able to install and set up Digital Performer 8, record and edit MIDI and Audio data, as well as produce, arrange, mix, and master their musical compositions. Two lab hours per week for one ARTST-00E MUSIC PRODUCTION WORKSHOP () Computer-based weekly one-on-one workshop with an instructor who guides the student in developing technique, musicianship, and style in support of music production skills. Students learn how to enhance their basic production knowledge into dynamic and professional quality material. Topics include drum programming, sampling, remixing, synth development and more. One workshop hour per week for one May be repeated for credit. ARTST-0E SYNTHESIS AND SAMPLING () This course covers the history of synthesizers, fundamentals of subtractive synthesis, sampling techniques and their application using Apple Logic software. Includes practical application of theory using the ES-, ES-, and Sculpture synthesizers as well as the EXS- sampler and Apple Loops utility. Two lecture hours per week for one ARTST-03E INTRO TO MUSIC PUBLISHING () An overview of music publishing from the artist s perspective. Topics include copyright basics, how co-writers divide percentages in a composition, when the producer gets credit, protecting your compositions (PA and SR forms), what publishing companies can do for your career (song-plugging, advances, administration, marketing funds), and more. One lecture hour per week for one ARTST-0E MUSIC PRODUCTION ANALYSIS () Group-based course in which students and instructor listen to and discuss music of different styles and genres. Discussions center on what production techniques are being employed musically and sonically. One discussion-based lecture hour per week for one ARTST-05E THE WORKING SONGWRITER () This course will dive deeper into the realm of current industry hit songwriting and help students learn what it takes to become a working songwriter plus practice current forms of industry songwriting techniques. One lecture hour per week for one ARTST-06E BEAT MAKING AND MASCHINE () Prerequisite: Successful completion of one of the following courses: AUDIO-057 ProTools 0, or AUDIO-05 Logic, or AUDIO-058 Ableton Live, or AUDIO-056 Reason. An introduction to the use and utility of Maschine Sampler software. Students will be exposed to modern production and programming techniques using Native Instruments Maschine. Upon completing this course, students will be able to create beat sequences as well as more complex productions and remixes using the Maschine software and hardware suite. Two lab hours per week for one ARTST-08E ACCENT REDUCTION () This course enables non-native English speaking students to develop an American English accent for effective Englishlanguage vocals. Students learn to break words into their phonetic elements and identify and concentrate on specific problematic sounds. One lecture-lab hour per week for one ARTST-09E SOCIAL MEDIA BRANDING FOR THE INDEPENDENT ARTIST () This is an introductory course on navigating the world of social media as a musician. Students will study how to share their story and music effectively through Social Media platforms such as YouTube, Facebook and Instagram. Throughout this course, students will be guided through various practical steps to shape their image and expand their fan base. Upon successful completion of this course, students will be able to use effective branding strategies as well as practical skills to create and post relevant content. One lecture hour per week for one ARTST-03E LIVE PERFORMANCE WORKSHOPS () Live Performance Workshops (LPWs) and Ensembles provide students with a wide range of opportunities to gain valuable performing experience by concentrating in one area or by sampling a variety of styles and musical settings. A minimum of ten performance credits are required per ARTST-05E MUSIC PRODUCTION () This course exposes students to the ins and outs of both the business and creative sides of album production. Classes are hands-on, intensive, and real-world, covering concepts such as budgeting, choosing studios and musicians, working with engineers and management, and finessing the best performance out of artists. Two lab hours per week for one ARTST-080E KEYBOARD ESSENTIALS FOR THE INDEPENDENT ARTIST () This is an introductory course on contemporary keyboard technique. Through the study of physical posture, major COURSE DESCRIPTIONS scales and common chord progressions, this course will enable students to develop the necessary motor skills required for using the keyboard as an arranging and compositional tool. Upon completion of this course, students will gain a basic knowledge of keyboard skills through focused study of performance posture, practice routine development, major scale construction, finger dexterity, interval and triad construction as well as common chord progressions. One lecture hour per week for one ARTST-E SYNTHESIS AND SAMPLING () Prerequisites: ARTST-0E Synthesis and Sampling. More advanced elements of subtractive synthesis as well as an introduction to FM and granular synthesis. Students also learn to work with hardware synths and samplers, such as the Little Phatty and Akai MPC. One lecture hour per week for one ARTST-53E PROJECT STUDIO DESIGN () Prerequisite: ARTST-0 Recording Project. This course focuses on creating an acoustically viable space in the home or project studio environment. Students will learn how to assess the acoustical problems in any spare room and learn cost-effective and practical methods to lessen their impact on the quality of the recording and mixing done in that space. Fabrication, actual studio construction, advanced electronics knowledge or specialized math skills are not required. This course is equivalent to AUDIO-53E: Project Studio Design. Two lab hours per week for one ARTST-05E TC Helicon for Vocalists () Prerequisite: Audition required for IAP Students. Please contact your Program Chair via to schedule an audition. This course provides students with skills to record, loop and design vocals in live performance situations. The class will create vocal improvisations and harmonies with diverse effects that expand a vocalist s presentation utilizing TC Helicon s VoiceLive Touch, a vocal effects processor and looping device. The class will discover how to engage vocal effects and operate presets that result in vocal versatility while onstage.two lecture/ensemble hours per week for one ARTST-E PLUGIN PROCESSING () Prerequisite: Successful completion of one of the following courses: AUDIO-057 ProTools 0, or AUDIO-05 Logic, or ARTST-0 Recording Project. This course covers topics such as EQ, compression, reverb, delay, pitch correction, sound replacing, and signal flow. Students will be exposed to different types of effects processors, as well as how to operate and apply them to recorded music. Upon successful completion of this course, students will understand how to use and implement these tools appropriately. One lecture hour per week for one ARTST-5E VOCAL PRODUCTION () Prerequisite: Successful completion of one of the following courses: AUDIO-057 ProTools 0, or AUDIO-05 Logic, or ARTST-0 Recording Project. Using industry standard programs ProTools and Logic, the course will explore templates, project management, EQ, compression, THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS COURSES

60 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES vocal FX, comping, bussing, vocal aligning, printing stems, and remixing techniques. Students will observe one vocal production session with a student vocalist per Upon successful completion of this course, students will be able to run a vocal session on their own and produce, record, edit, and mix vocals. One lecture hour per week for one IAP PRIVATE LESSON () ARTST-BPL (BASS) ARTST-DPL (DRUM) ARTST-GPL (GUITAR) ARTST-KPL (KEYBOARD) ARTST-VPL (VOCAL) Weekly lesson with an instructor who guides the student in developing technique, musicianship, and style in support of student-goals and requirements for the program. One private lesson hour per week for one May be repeated for credit. MUSIC BUSINESS // MUSIC BUSINESS (CERTIFICATE) MUBUS-0 MUSIC LAW : THE FUNDAMENTALS () An overview of the various areas of music law and basic legal concepts that play a significant role in music industry transactions, including Property Law; Intellectual Property; Personality & Publicity Rights; Name & Likeness; Equitable Principles & Remedies (Injunctions & Declaratory Relief; Indemnification); Common Law & Statutory Enactments; Contract Law; and Constitutional Principles (Fair Use exceptions, free speech, commercial speech). Two lecture hours per week for one MUBUS-0 COMPUTERS IN BUSINESS () Overview of essential software used in the music business workplace, including Microsoft Word, Excel and PowerPoint. Hands-on projects include preparing visual presentations, business letters, and spreadsheets. One lecture hour per week for one MUBUS-03 RECORD LABELS () An inside look at record companies, including an analysis of the various departments within a label and how they interact with each other to build an artist s career. Students analyze the similarities and differences in company structure and artist deals between major and indie labels. As a final project, each student seeks out an independent artist album and writes a full A&R report, including demographics, genre of music, radio airplay, marketing ideas, suggested record producer. Two lecture hours per week for one MUBUS-0 YOUR MUSIC BUSINESS CAREER () An overview of the varied career opportunities available in the music business. Technical, creative and business professions are covered for positions as music producers, engineers for studio and live settings, A&R and publishing executives, music supervisors, distribution and sales teams, the various types of managers and more. In addition, professionals in those careers will be guest speakers to provide insight and real-world information particular to their fields. Two lecture hours per week for one MUBUS-05 AGENTS AND BOOKINGS () Booking Agents are important and essential members of an artist s management team. This course discusses their responsibilities, how they interact with artists, how they are paid, and how artists can choose among agents. Guest lectures by agents as available. One lecture hour per week for one MUBUS-06 DIGITAL MARKETING () The Internet has forever changed the music industry. Together with foundational marketing concepts, this course covers all aspects of how the Internet continues to impact the music industry, particularly in the areas of distribution, promotion, marketing and retail practices. Topics include: press outreach, online retail, viral marketing techniques, video content marketing, social networking, and other directto-fan platforms. Students engage in real-time research. Two lecture hours per week for one MUBUS-07 MUSIC PUBLISHING () Publishing remains one of the most lucrative segments of the music industry. Topics covered include: how to copyright songs and recorded works using the online form CO, how royalties are paid to writers and publishers, and the functions and responsibilities of the Performing Rights Organizations ASCAP, BMI, and SESAC. Two lecture hours per week for one MUBUS-08 PERSONAL MANAGEMENT () An overview of the responsibilities of personal managers and the nature of the relationships they maintain with their artists. Topics include: developing the artist and preparing a career plan, contractual agreements between the artist and manager, the steps a manager takes to fulfill those obligations, and management responsibilities with regard to negotiating and concluding recording and publishing contracts. Two lecture hours per week for one MUBUS-0 MUSIC LAW : CONTRACTS () Prerequisites: MUBUS-0 Music Law. This course provides students with hands-on experience in analyzing, drafting, and negotiating common music industry agreements. Practical exercises include supervised mock negotiations of music contracts, licenses, releases, and other common transactions. Two lecture hours per week for one MUBUS-0 MEDIA RELATIONS () Students learn the difference between publicity and public relations, how to create and implement media campaigns, and how to write artist bios, press releases, news releases, and eye-catching headlines. Skills apply to independent artists as well as those aspiring to work in the industry. Two lecture hours per week for one MUBUS-03 MUSIC DISTRIBUTION () Effective distribution is one of the most important elements in a successful career. This course focuses on traditional distribution methods and outlets including radio, retail and TV as well as strategies for digital and mobile platforms along with new and emerging models. Topics also include: how sales and radio plays are tallied through SoundScan, Mediabase and BDS as well as innovative companies using a range of metrics to measure the impact of artists music in various media. One lecture hour per week for one MUBUS-0 CONCERT AND TOUR PRODUCTION () Students learn how to produce a live concert, musical event, festival, or tour. Topics include: booking and sizing of venues, ticket sales, concert promotion, selling merchandise, allage shows, talent agents and buyers, contracts, technical aspects, security & laws, minimizing risks, and much more. Guests include booking agents and concert promoters. Two lecture hours per week for one MUBUS-05 MUSIC INDUSTRY INTERNSHIP () Students gain firsthand experience within the music industry by working as interns for music related companies. Students are coached on specific areas of music business employment, such as writing professional résumés, personal interview skills, and professionalism. Specific firms, positions, and duties vary according to availability. Average of twelve internship hours per week for one Students must present signed Verification of Course Credit sheet and completed Hours Log to earn course credits. MUBUS-06 NETWORKING STRATEGIES () Success in a changing music industry is determined by the strength and longevity of personal contacts: who you know, what you know and, most important, who knows you. In this practical, application-oriented course, students analyze and practice different types of communication, social techniques, and presentation skills important to making personal contacts in all strata of the music business and building a professional support network. One lecture hour per week for one MUBUS-07 MUSIC LICENSING AND SUPERVISION () Artists can open up significant additional revenue streams by licensing their recordings to international record labels, TV, film, video games, and for Internet content. This course explains how to submit your music to labels and music supervisors and how deals are typically structured. Two lecture hours per week for one // MUSIC BUSINESS (ASSOCIATE) MUBUS-0 MUSIC INDUSTRY HISTORY () An introduction to the key components of the music business and a comprehensive historical overview of the recorded music industry from 909 to the onset of the rock n roll era. Students listen to and analyze the music of each era, including sources and influences on subsequent trends in the context of social and cultural movements and political events. In addition, students are given an overview of the basic concepts and steps in the recording process, and its evolution from invention to the end of the 950 s. Two lecture hours per week for one MUBUS-0 MUSIC INDUSTRY HISTORY () Prerequisite: MUBUS-0 Music Industry History. An overview of the evolution of the industry through an era of increasingly rapid change beginning in the 60s and coming into the digital age. Includes listening and musical analysis as well as examination of sources and influences on subsequent trends in the context of social and cultural movements and political events. Additional topics include the advent and exponential growth of new technologies in the recording process as well as with music consumption and formats, and the remodeling of business practices and economic structures throughout the entertainment arena. The course concludes with an overview of industry careers in the modern era. Two lecture hours per week for one MUBUS-0 MUSIC BUSINESS LAW AND CONTRACTS () This course is designed to develop an understanding of the fundamentals of law and legal rights which permeate the music industry by providing an overview of legal concepts which govern all business activities, with particular emphasis on those which play a significant role in music-related transactions, including copyrights, trademarks, name & likeness (publicity rights), property law (generally), Constitutional rights and guaranties in the context of the music industry (e.g., freedom of speech, freedom of assembly), and the basics of contract law (with introduction to common industry agreements, negotiation techniques, and specialized terminology). Two lecture hours per week for one MUBUS-0 MUSIC BUSINESS LAW AND CONTRACTS () Prerequisite: MUBUS-0 Music Business Law and Contracts. More advanced principles of contract law including analysis of commonly-encountered contract clauses and provisions, as well as practical exercises with expert coaching in the negotiation and drafting of effective legal contracts, licenses, releases, and other written instruments, coupled with study of real-world disputes as a guide to what to include and what to avoid in formulating contracts. During the course, students will actually negotiate and draft at least five complete contracts including: a mechanical license; a personal management agreement; a general partnership agreement (band agreement); a sync license for first-use inclusion of a musical composition in a motion picture; and a comprehensive recording contract deal memo. Two lecture hours per week for one MUBUS-30 MUSIC BUSINESS LAW AND CONTRACTS 3 () Prerequisite: MUBUS-0 Music Business Law and Contracts. Analysis of real-world disputes in the music industry, including the various legal and equitable doctrines as applied by courts rendering judgment in those cases, exploring a broad range of legal issues and causes of action: copyright infringements, contract disputes, artist/manager disputes, trademark infringements and dilutions, trade dress, misappropriations of personality and publicity rights, soundalike and look alike personality rights infringements, COURSES 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

61 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES performers actions to disaffirm contracts entered when they were minors, co-authors disputes, fraud cases, publishing disputes, licensing disputes, and conflict-of-law cases balancing the interactions between the laws of different countries in the same case. One lecture hour per week for one MUBUS-30 MUSIC PUBLISHING AND LICENSING () Topics include the business and creative responsibilities of a publisher, how to copyright songs and recorded works, how royalties are paid to writers and publishers, an overview of various royalty income streams, and the scope and functions of the Performing Rights Organizations (PRO) and emerging music rights organizations. Hands-on exercises include copyright and PRO form execution, completing cue sheets using online forms, and performance, sync, and mechanical licenses. In addition, as the industry is firmly entrenched in digital platforms, ongoing developments in the world of music publishing will be discussed. Two lecture hours per week for one MUBUS-30 MUSIC PUBLISHING AND LICENSING () Prerequisite: MUBUS-30 Music Publishing and Licensing. A study of publishing with a global focus. Concepts include sub-publishing in non-u.s. territories, international copyright terms and extensions, royalty payments and international PRO s (Songwriter Societies). In addition, the creative aspects of music publishing with a global perspective are examined, including songwriter relationships, song plugging and promoting music in alternative markets. Two lecture hours per week for one MUBUS-330 MUSIC PUBLISHING AND LICENSING 3 () Prerequisite: MUBUS-30 Music Publishing and Licensing. Co-requisite: MUBUS-350 Accounting and Finance. An examination of the significant revenue streams generated by licensing recordings for use in TV, film, trailers, commercials, video games, digital and mobile platforms, print music and lyrics, compilations/special projects, karaoke, toys, greeting cards, and more. Topics include an overview and analysis of typical deal structures, contracts, forms, and licenses used in the field along with the process of music rights clearance and royalty disbursements. Also explored is the use of metadata and advancements in music recognition technology. Two lecture hours per week for one MUBUS-30 MUSIC PUBLISHING AND LICENSING () Prerequisite: MUBUS-330 Music Publishing and Licensing 3. The role of the music supervisor is explored as well as how to submit music for various types of projects. Topics also include music libraries, configuration of music for them and how this affects royalty disbursement, along with a review of the numerous publishing deals available in today s business. Students also study to employ online resources to gather information on film and TV productions as well as methods for connecting with industry professionals to further their own careers. Two lecture hours per week for one MUBUS-0 MUSIC INDUSTRY () (Record Label Structure & Talent Acquisition) Co-requisite: MUBUS-70 Personal Management and The Artist s Team. An overview of typical record label structures and how they evolved, including an analysis of the functions of specific departments and how they interact to build an artist s career. Students analyze the similarities and differences in company structure as well as artist deals between major and indie labels. In addition, students will study the evolution and responsibilities of the A&R (Artist & Repertoire) role, including the screening of new material, new artist discovery, the signing process, artist development, song selection and the artist-label-management dynamic. The course culminates in a final project in which each student creates a full A&R report for an independent artist s album of their choosing covering musical genre, production strategy, target demographics, internet exposure, radio airplay, streaming, marketing ideas, and more. Two lecture hours per week for one MUBUS-0 MUSIC INDUSTRY () (Distribution & Label Services Companies) Prerequisite: MUBUS-0 Music Industry. A complete study of the area of distribution in the music industry including traditional, online and digital channels, independent and major distributors, varied deal structures and innovative strategies for releasing and positioning music in an evolving global marketplace. Topics cover all distribution platforms, including terrestrial radio, digital, online and mobile platforms, pitching distributors in each area, alternative distribution, consignments, servicing retail outlets, coordinating promotions and marketing with distribution, and packaging and bundling music for added-value. Additionally, how sales are monitored, tracked and compiled will be examined, the importance of UPC bar codes, ISRC s, metadata and digital watermarks. A special focus will be given to independent artists who forego traditional record deals, and instead utilize label services provided by a variety of companies, including distributors. Two lecture hours per week for one MUBUS-30 MUSIC INDUSTRY 3A () (Broadcast Media) Prerequisite: MUBUS-0 Music Industry. Co-requisites: MUBUS-3 Music Industry 3B, and MUBUS-3 Music Industry 3C. Topics include the evolution of radio, as well as other broadcast media, and their impact on the music industry. broadcast outlets are examined with a focus on how they operate, determine formats and programming, and help to promote music. Forms of broadcasts for study include commercial and non-commercial radio, public radio, mix and specialty shows, satellite and internet radio, digital broadcasts and streaming services. Focus is given to how music is chosen and prepared for programming, with an overview of industry charts, monitoring services and tracking systems. Techniques for obtaining airplay in both commercial and non-commercial media are explored, along with promotours and live concerts used to support broadcasts. Two lecture hours per week for one MUBUS-3 MUSIC INDUSTRY 3B () (Agents & Bookings) Prerequisite: MUBUS-0 Music Industry. Co-requisites: MUBUS-30 Music Industry 3A, and MUBUS-3 Music Industry 3C. The Booking Agent has emerged as a vital team member for the artist. This critical role and its corresponding responsibilities in the live concert industry are explored. Topics include the history and evolution of agencies, methods involved in booking tours (local to major), sourcing contacts and venues, offers and pitching, performance contracts, fee structures, and negotiating with talent buyers and promoters. Logistical aspects and execution of contract requirements and riders along with the steps in advancing shows will be introduced. Additionally, the specifics of college tours and booking conferences will be discussed. One lecture hour per week for one MUBUS-3 MUSIC INDUSTRY 3C () (Tour Management) Prerequisite: MUBUS-0 Music Industry. Co-requisites: MUBUS-30 Music Industry 3A, and MUBUS-3 Music Industry 3B. Working in tandem with the agent, the Tour Manager handles all responsibilities on the ground for the artist during the tour. All logistical aspects are explored, including sound checks, performance deliverables, advancing shows, coordinating itineraries to follow routing, dealing with stage managers, merchandising, budgets, per diems, personnel management, interviews, and running a mobile production office. The specifics in working festival tours are also discussed. One lecture hour per week for one MUBUS-0 MUSIC INDUSTRY A () (Entrep. Strat. for Music Based Companies) Prerequisites: MUBUS-30 Music Industry 3A, MUBUS-3 Music Industry 3B, and MUBUS-3 Music Industry 3C. Co-requisite: MUBUS- Music Industry B. An overview of creative and business requirements for starting an independent record label or music-based company (related product or service). Students developing a mock label define the music genre; identify the target audience; find and sign artists; set recording budgets; select producers, arrangers, backup musicians, audio engineers and recording studios; and develop the image, branding, promotion, advertising and publicity. Similarly, students developing a musicrelated product or service define the company, products and services, identify the target consumer, outline costs, and likewise develop the image, branding, promotion and advertising. As a final project, music business students develop business and marketing plan elements and promotional media for actual independent artists or for the product or service. Two lecture hours per week for one MUBUS- MUSIC INDUSTRY B () (Concert Promoters) Prerequisites: MUBUS-30 Music Industry 3A, MUBUS-3 Music Industry 3B, and MUBUS-3 Music Industry 3C. Co-requisite: MUBUS-0 Music Industry A. As the live concert industry has become one of the most dominant areas of the music and entertainment business, the distinct role of the Concert Promoter is explored. Topics include the history of promoters and talent buyers, venue ownership, and the evolution and rise of large corporations such as Live Nation and AEG. In addition, the specifics of how to produce a live concert, musical event, festival or tour are covered, including sizing of venues, ticket sales, contracts, negotiating with booking agents, technical aspects and more. Industry resources for the live industry are reviewed such as Pollstar and Celebrity Access. One lecture hour per week for one MUBUS-50 COMPUTER TECH MUSIC BUSINESS APPLICATIONS (.5) A practical introduction to commonly used music business software. Using on-site computer rooms, students explore office basics and develop projects using MS Office (Word, Excel and PowerPoint) as well as a survey of Mac productivity suite applications (Keynote, Pages, Numbers, Preview). Also includes an overview of cloud-based and mobile productivity applications such as the Evernote and Google applications. One lecture hour and one lab hour per week for one MUBUS-50 COMPUTER TECH MUSIC BUSINESS APPLICATIONS (.5) Prerequisites: MUBUS-50 Computer Tech Music Business Applications, MUBUS-330 Music Publishing and Licensing 3, and MUBUS-350 Accounting and Finance. Building on core computer skills, students explore programs designed to manage and administer music publishing tasks and songwriter catalogs, rights and royalty accounting and tracking, production music library digital distribution (including generating cue sheets), and music licensing. One lecture hour and one lab hour per week for one MUBUS-50 MUSIC BUSINESS ACCOUNTING AND FINANCE (.5) Prerequisite: MUBUS-50 Computer Tech Music Business Applications. An introduction to core concepts and techniques of business accounting and fiscal management, including: cash accounting and accrual accounting methods; debits and credits; charts of accounts; double-entry bookkeeping; the acid test and other commonly used fiscal ratios; inventory controls ( LIFO vs. FIFO ); personal and business budgeting and financial planning; fundamentals of entertainment industry project budgeting ( above-the-line and below-the-line elements); common financial reports (balance sheets, income statements, cash flow statements); tax considerations and common government forms (W-, W-, W-7, W-9, 099, SS-, etc.). One lecture hour and one lab hour per week for one MUBUS-350 MUSIC BUSINESS ACCOUNTING AND FINANCE (.5) Prerequisites: MUBUS-50 Accounting and Finance, and MUBUS-0 Music Business Law and Contracts. Co-requisite: MUBUS-330 Music Publishing and Licensing 3. More advanced study of accounting principles and techniques as applied to the music industry, including: digital rights management, internet marketing and revenue models (subscription, peer-to-peer (PP), streaming, payper-play), contract analysis to quantify financial elements, COURSES 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

62 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES royalty collections, royalty accounting, international currency considerations, preparing and analyzing royalty statements, management and distribution of licensing revenues, considerations arising under multiple-rights ( 360 ) recording contracts (live performance revenue, endorsement and merchandise revenue, other entertainment-related revenue streams), and general strategies for minimizing tax liabilities. One lecture hour and one lab hour per week for one MUBUS-70 PERSONAL MANAGEMENT & THE ARTIST S TEAM () Co-requisite: MUBUS-0 Music Industry. An overview of the responsibilities of personal managers as leaders of the artist s team, and the nature of the relationships they maintain with their artists. Topics include: contractual agreements between the artist and manager, fulfillment of those obligations, and management responsibilities with regard to the negotiation and concluding of various contracts. In addition, the specific roles of an artist s team are defined and discussed, including the attorney, agent, business manager, tour manager and publicist. Overview of planning and positioning an artist s career along with strategies are discussed. One lecture hour per week for one MUBUS-70 ARTIST DEVELOPMENT: SKILLS FOR THE CREATIVE ENVIRONMENT (.5) Prerequisites: MUBUS-70 Personal Management and The Artist s Team, MUBUS-30 Music Industry 3A, MUBUS-3 Music Industry 3B, MUBUS-3 Music Industry 3C, and MUBUS-360 Song Structure and Content. Co-requisite: MUBUS-60 Songs, Recordings and Production: A&R Analysis. This class explores the roles of the arranger, producer, engineer, road technicians, side musicians, background vocalists and technical support personnel employed on a tour or session. Students study musical terminology required for effective communication in rehearsal, stage, or studio environments and strategies for carrying out constructive critique and musical decision-making with artistic/creative personalities. Students apply relationship scenarios, communication and artist-development skills during one-on-one sessions with actual independent artists. One lecture hour and one lab hour per week for one MUBUS-80 MUSIC BUSINESS MARKETING AND SOCIAL MEDIA () An overview of the principles of marketing for music as well as the distinct channels used, including airplay, publicity, video and social media. Students study how to structure effective marketing campaigns, as well as strategies for maximizing results. The course culminates with students developing an online marketing campaign for an artist, including creating the message, slogans, media and visual elements along with defining their methods and channels of exposure. Two lecture hours per week for one MUBUS-80 MUSIC BUSINESS MARKETING AND SOCIAL MEDIA () Prerequisite: MUBUS-80 Music Business Marketing and Social Media. Continued study of marketing strategies focusing on the principles and methods of public relations (PR) as well as effective use of video content in this current digital age. Topics include the logistics of media relationships, implementing a press plan, creating PR materials, promotional writing and image development; online video platforms such as YouTube and an overview of how to use content; and integration of social media to support and tie-in. As a final project, students will write a press release incorporating live links to a video series starring an artist, and then share on multiple social media platforms. Two lecture hours per week for one MUBUS-380 MUSIC BUSINESS MARKETING AND SOCIAL MEDIA 3 () Prerequisite: MUBUS-80 Music Business Marketing and Social Media. Continued study of marketing strategies focusing on the areas of airplay and retailing as well as expanded social media techniques. Topics include an overview of airplay platforms (terrestrial, internet and satellite radio, streaming, mobile and alternative outlets), and how to position artists and their music. Strategies in retailing for music and merchandise, effective social media integration and online advertising are also reviewed. Major platforms such as Facebook and Twitter are explored for creating relationships with and marketing products and services to relevant demographic communities, along with web analytics and search engine optimization (SEO) techniques. Students study how to allocate budgets for maximum impact utilizing a diverse media mix. Two lecture hours per week for one MUBUS-80 MUSIC BUSINESS MARKETING AND SOCIAL MEDIA () Prerequisite: MUBUS-380 Music Business Marketing and Social Media 3. Continued study of marketing strategies focusing on the areas of consumer lifestyles and sponsorship. Topics include an overview of platforms where consumers and fans can be targeted and how to reach them, including festivals and related events. Students also study about endorsements vs. sponsorships and the typical deals, with more extensive study of the specifics of sponsorship including identifying brand partners and the potential credibility/visibility benefits, methods of appealing to potential sponsors, creating sponsorship decks and alternative presentations, delivering results to the brand partner, and building in social media engagement. As a final project, students implement a lifestyle marketing program with video, images and social media along with creating reports with deliverables to the sponsor. Two lecture hours per week for one MUBUS-580 MUSIC BUSINESS MARKETING AND SOCIAL MEDIA 5 () Prerequisite: MUBUS-80 Music Business Marketing and Social Media. Topics include analyzing consumer behavior, influence and persuasion, principles and ethics of successful campaigns, and core branding concepts. Students examine various techniques for conducting consumer-based market research, including identification of the product, idea, or problem; collecting data; observation, focus groups, interviews, and experiments; analyzing, interpreting, and drawing conclusions from data; and making recommendations based on findings. Students apply concepts to actual research models by gauging consumer response to packaging, logos, band names, set lists, visual images, and more. As a final project, students apply skills covered by creating a complete and detailed plan taking a new artist s music release through the entire marketing process. Two lecture hours per week for one MUBUS-50 MUSIC INDUSTRY INTERNSHIP I () Prerequisite: MUBUS-0 Music Industry History, MUBUS-0 Music Business Law and Contracts, Prerequisite: MUBUS-30 Music Publishing and Licensing, MUBUS-0 Music Industry, MUBUS-50 Computer Tech Music Business Applications, MUBUS-70 Personal Management and The Artist s Team, MUBUS-80 Music Business Marketing and Social Media, and MUBUS-90 Management and Business Skills. Students gain firsthand experience within the music industry by working as interns for music-related companies. Students are coached on music business employment skills including writing professional résumés, personal interview techniques and professionalism. Specific firms, positions and duties vary according to availability. Average of six internship hours per week for one Students must present signed Verification of Course Credit sheet and completed Hours Log to earn course credits. MUBUS-60 MUSIC INDUSTRY INTERNSHIP () Prerequisite: MUBUS-0 Music Industry History, MUBUS-0 Music Business Law and Contracts, Prerequisite: MUBUS-30 Music Publishing and Licensing, MUBUS-0 Music Industry, MUBUS-50 Computer Tech Music Business Applications, MUBUS-70 Personal Management and The Artist s Team, MUBUS-80 Music Business Marketing and Social Media, and MUBUS-90 Management and Business Skills. Students may continue their internship with the same firm in an expanded capacity or undertake a new internship with a different firm. Specific firms, positions and duties vary according to availability. Average of twelve internship hours per week for one Students must present signed Verification of Course Credit sheet and completed Hours Log to earn course credits. MUBUS-550 PERSONAL ENTREPRENEURSHIP () Prerequisite: MUBUS-50 Accounting and Finance. The legal aspects of starting a business, including defining the business type (proprietorship, partnership, LLC, corporation), securing licenses, financial/tax planning, trademark searches and clearances, DBAs, permits, setting up the tax structure, obtaining business loans, and maintaining compliance with federal, state, and local laws and regulations that govern business ventures. Students also carry out analysis to determine if a proposed business is financially viable and study daily business operations management skills such as hiring employees, managing inventory, and more. Two lecture hours per week for one MUBUS-650 PERSONAL ENTREPRENEURSHIP () Prerequisites: MUBUS-550 Personal Entrepreneurship, MUBUS-0 Music Business Law and Contracts, MUBUS-0 Music Industry A, MUBUS- Music Industry B, MUBUS-30 Music Publishing and Licensing, and MUBUS-580 Music Business Marketing and Social Media 5. Utilizing research and product/service development skills, students write a formal business plan, including projections, strategies, and resource materials, for a new music business firm in a field of their choice (management, booking, label, music library, publishing, licensing, app development). Based on the business plan, each student then develops a marketing and promotion strategy. Topics include identifying a physical location, naming the business, obtaining financing, and finding and retaining customers/ clients. Two lecture hours per week for one MUBUS-570 PUBLISHING/A&R PRACTICUM () Prerequisites: MUBUS-30 Music Publishing and Licensing, MUBUS-0 Music Industry A, MUBUS-70 Personal Management and The Artist s Team, MUBUS-0 Music Business Law and Contracts, MUBUS-350 Accounting and Finance, MUBUS-60 Songs, Recordings and Production: A&R Analysis, MUBUS-70 Artist Development: Skills For The Creative Environment, MUBUS-80 Music Business Marketing and Social Media, and MUBUS-90 Management and Business Skills. Corequisite: MUBUS-560 Production Music For Visual Media (Critical Listening). Under the guidance of Project Advisors, business students assist MI student artists in the manner of a functioning music publishing office. Students obtain Library of Congress copyright forms, meet with Performing Rights Organizations membership reps, obtain mechanical and digital license information from appropriate industry companies, and obtain membership information from the NMPA. Working with songwriters, business students determine their musical niche and provide advice and assistance on copyrighting their songs, co-writer agreements, publishing agreements, and joining the appropriate Performing Rights Organization as well as polishing material and assembling basic promo packages. Acting in the role of publishers, students determine casting (pitching for a self-contained singer/songwriter vs. promoting the songs to other artists) and pitch the songs to artist management and record label A&R reps as well as music supervisors for film/tv/media placement. The process culminates in the basics of deal signing. Four group project advisement hours per week for one quarter plus independent project completion. MUBUS-670 BOOKING & MANAGEMENT PRACTICUM () Prerequisites: MUBUS-330 Music Publishing and Licensing 3, MUBUS-0 Music Industry A, MUBUS- Music Industry B, MUBUS-70 Personal Management and The Artist s Team, MUBUS-0 Music Business Law and Contracts, MUBUS-350 Accounting and Finance, MUBUS-60 Songs, Recordings and Production: A&R Analysis, MUBUS-70 Artist Development: Skills For The Creative Environment, MUBUS-80 Music Business Marketing and Social Media, and MUBUS-90 Management and Business Skills. Under the guidance of Project Advisors and in the manner of functioning personal COURSES 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

63 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES management offices, business students provide career development assistance for artists drawn from the MI student pool. The focus is on advising artists on all aspects of their live performance, including creative and image development (set lists, band members, stage attire and performance suggestions), booking and management (sourcing appropriate venues, amending performance agreements, technical requirements and logistical considerations), and developing the manager/artist relationship through concert observation and post-event analysis. Student and artist progress is tracked and assessed through the completion of project worksheets featuring qualitative and quantitative tasks and milestones. Four group project advisement hours per week for one quarter plus independent project completion. PROFESSIONAL DEVELOPMENT // MUSIC BUSINESS MUBUS-90 MANAGEMENT AND BUSINESS SKILLS (.5) (Business Writing and Time Management) Learning and applying effective written communication is essential in the music business as is completing tasks with tight deadlines. In addition to creating business appropriate communication, students will identify and use industry specific language and expand their vocabularies with new words. Topics also cover using words as a productive business tool to establish a professional image, as well as clear, effective written communication in business letters, (with etiquette), and web content. In time management, new methods to increase efficiency and productivity will be analyzed and implemented. Topics include maintaining written records, setting goals, creating a vision, prioritizing, punctuality, reducing information overload, organizing, delegating, and how to focus and use time effectively. MUBUS-90 MANAGEMENT AND BUSINESS SKILLS (.5) (Networking Strategies and Professionalism) Prerequisite: MUBUS-90 Management and Business Skills. Success in a changing music industry is determined by the strength and longevity of personal contacts: who you know, what you know, and most important, who knows you. In this practical, application-oriented course, students analyze and practice different types of communication, social techniques, and presentation skills important to making personal contacts in all strata of the music business, plus study how to comport themselves professionally at events and in corporate situations. Students select and attend appropriate music performance and music business events where they network, follow up with professionals, and report on the activity and results. Building on the aforementioned, students develop career strategies to seek out job opportunities or business ventures through networking, establish a reputation in chosen career area, and meet the right people and identify the primary players (companies and people) in a chosen field in order to enter the industry at the highest level possible. One lecture hour and one lab hour per week for one MUBUS-390 MANAGEMENT AND BUSINESS SKILLS 3 (.5) (Public Speaking and Managing Professional Relations) Prerequisite: MUBUS-90 Management and Business Skills. Whether in the boardroom or the employee lounge, you must be able to speak clearly and concisely in order to inspire and motivate your employees, artists or clients. This course helps students overcome stage fright and helps them prepare to speak in public, whether to a handful of people or to a crowd. Topics include making business presentations, inspirational speaking, motivational speaking and debating. Plus, learn how to diplomatically handle difficult business situations and communicate with artists, managers, agents, record label personnel, studio personnel, accountants, and audiences. One lecture hour and one lab hour per week for one MUBUS-90 MANAGEMENT AND BUSINESS SKILLS () (Leadership, Business Relations and Applied Methods) Prerequisite: MUBUS-390 Management and Business Skills 3. A study of methods for developing the leadership qualities that enable music business professionals to deal with business associates ethically and tactfully, set an example for employees, and motivate them in the workplace. Topics include how to be an effective leader, how to hire/ recruit employees, rewarding your workers, leadership traits, delegating, becoming a better listener, and more. Additional focus will be on maintaining leadership in your field of specialty by staying ahead of the curve, setting trends, and holding membership in executive organizations. As a final class project, students will assume a leadership role in specific working situations such as studio, corporation or entrepreneurial enterprise. Two lecture hours per week for one CC-307 VISUAL MEDIA () Students learn to use Adobe Photoshop to design original CD artwork, flyers, promotional tools, and other visual materials vital to modern independent artists. Emphasis is on creating exciting and expressive designs that directly support music marketing campaigns. Topics covered in this class include: typography, flyer design, album artwork design, image manipulation, merchandise design, and more. Two lecture hours per week for one CC-07 VISUAL MEDIA () Prerequisite: CC-307 Visual Media. The Internet has opened up an enormous opportunity for musicians to promote themselves directly to music fans. This course focuses on the technical skills needed to promote music online. Topics include: building a strong online presence, creation of a content-rich website, online marketing tools and strategies, video editing basics, and social media. Two lecture hours per week for one SUPPORTIVE MUSIC // MUSIC BUSINESS MUBUS-60 FOR BUSINESS PROFESSIONALS () Students will be introduced to basic rhythmic notation on the staff, including the basics of harmony and theory that are discussed between producers, engineers, and musicians in the studio. Upon completion, students will be able to differentiate between major vs. minor chord qualities, Roman numeral harmony, song form, and the basics of chart creation. Two lab hours per week for one MUBUS-360 SONG STRUCTURE AND CONTENT () Prerequisite: MUBUS-60 Musicianship For Business Professionals. A study of the basic elements of popular song structure, including melody, lyric patterns and construction, harmony, scales, intervals, rhythm, and form; analysis of the structure of successful songs and the application of those elements to songwriting, including lyric and melodic development, hook recognition, chord structures, and accompaniment styles. Includes analysis of songwriting styles in various genres including pop, rock, country, rap/hip-hop, R&B/soul, jazz, blues, Latin, children s, religious, world/ethnic, and folk/americana. Through role-playing, students develop techniques for communicating on a musical level with performers, arrangers, engineers, and producers. Two lecture hours per week for one MUBUS-60 SONGS, RECORDING & PRODUCTION () Prerequisite: MUBUS-360 Song Structure and Content. Continued development of musical analysis skills and terminology. Production elements for enhancing a musical composition and identifying them in a recording will be explored. Analysis and comparison of preliminary song demos by prominent popular artists with the commerciallyreleased versions, identifying choices that led to a good song becoming a hit song. Students apply skills as they coach independent artists on song development, studying how to assess the artist s needs and provide effective advice on performance, song selection, melody, and lyrics as well as working with co-writers, choosing musicians, and developing an effective musical support network. One lecture hour and two lab hours per week for one MUBUS-560 PRODUCTION MUSIC FOR VISUAL MEDIA (CRITICAL LISTENING)() Prerequisites: MUBUS-30 Music Publishing and Licensing, and MUBUS-360 Song Structure and Content. Introduction to musical analysis from the perspectives of the composer/songwriter and the music supervisor, including identifying and interpreting aspects of tone, timbre, instrumentation, dynamics and motifs within a custom composition or song placement for film or television. Students are assigned to review a short film from the perspective of a music supervisor, assigning specific aspects of lyric content, melodic tone, dynamics and other factors to significant markers in the film, and communicating the desired aspects to the composer. Two lecture hours per week for one MUBUS-660 PRODUCTION MUSIC FOR VISUAL MEDIA (CRITICAL LISTENING) () Prerequisite: MUBUS-560 Production Music For Visual Media (Critical Listening). Continued study of the relationship between music and visual media from the perspectives of both the composer and the music supervisor. Professionals in the field explain and demonstrate the role and requirements of production music libraries by screening film, TV and ad cues and interpreting the accompanying sound effects, compositions and soundtrack elements. Topics of discussion include the process of custom composing for short films, feature films, various TV show formats, ads/commercials, corporate events, and religious institutions. Students are required to source and select ( place ) existing song material for use in a commercial, a film trailer and as a TV theme song, including researching the availability of material and analyzing and explaining the musical attributes of selections. Two lecture hours per week for one // MUSIC BUSINESS Music Business students must complete their elective requirements by choosing among the following courses only: MUBUS-E GETTING GIGS () Students learn the most efficient ways for artists and bands to book live shows and tours. Subjects include: where to play, checking out the venue, personal appearance contracts, getting paid, and putting together your own tours. Guest speakers (as available) include club owners, promoters, booking agents, and touring artists. One lecture hour per week for one MUBUS-5E BUSINESS WRITING () Students learn how to use words as a productive business tool to establish a professional image. This course prepares students to communicate clearly and efficiently in written communication, including business letters, , press releases, and website content. One lecture/workshop hour per week for one MUBUS-E THE TOURING MUSICIAN () Students learn how to plan tours, including planning the itinerary, creating a budget checklist, and establishing anchor dates, plus how to make the most of sales, concessions, and press. As the culmination, students plan a ten-day tour. One lecture hour per week for one MUBUS-E NEWS AND INDUSTRY TRENDS () Students and instructor review and discuss all of the latest music business news as reported in Billboard, trade websites and newspapers, and general media. Discussions center on how the news impacts the industry and students own careers. One lecture hour per week for one Music Business Associate students may also choose from a limited selection of Common Course electives approved by the Chair after completing their first COURSES THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

64 COURSES COURSE DESCRIPTIONS MUSIC BUSINESS // ENTREPRENEUR // MUSIC BUSINESS ENTREPRENEUR MUBUS-30 MUSIC LAW 3 () Prerequisites: MUBUS-0 Music Law. This course provides practical application of music industry-related legal doctrines and fundamentals. Includes research and analysis of historical disputes in the industry followed by lectures and discussions aimed at determining how they could have been avoided or minimized through negotiation or appropriate contract provisions. Students conduct a mock trial of a breach-of-contract case between artist and record company. Two lecture hours per week for one MUBUS-303 START YOUR OWN RECORD LABEL () This course details what is needed to start a label from the creative perspective. Topics discussed include: defining the label s genre, finding and signing artists, setting recording budgets, selecting producers and studios, and choosing a distributor. Two lecture hours per week for one MUBUS-30 SOCIAL NETWORKING AND FAN MANAGEMENT () Students learn to use social networking tools to build a fan base, attract attention, build a reliable network of listeners, and harness the energy of fans for marketing, promotion, and outreach. One lecture hour per week for one MUBUS-305 SHOWCASE PROMOTIONS () In this hands-on course, students select Los Angeles-area independent artists and then plan, organize, produce and promote a live industry showcase at a local venue. Students carry out all aspects of promotion, marketing, and publicity under instructor supervision. Two lecture hours per week for one MUBUS-306 BROADCAST STRATEGIES () Students learn how to use radio to promote independent music. Topics include: techniques for securing radio airplay from college and commercial radio, approaching music and program directors, and different broadcast formats, including mix shows, specialty shows, satellite radio, and Internet radio. Two lecture hours per week for one MUBUS-307 INDEPENDENT ARTIST MARKETING () This course reveals basic marketing concepts applicable to any professional business venture and focuses on the creation of a fully customized, low-budget marketing plan of attack. Furthermore, at a time when new technologies make it more possible than ever for artists to leverage their own careers, there has never been a greater need for practical, independent marketing advice. After identifying a business vision, students conduct research, set short-term goals, and create an integrated mix of marketing strategies to achieve their objective, including defining an image, brand, position, and format, identifying the target audience, gaining access to radio, as well as effectively utilizing live shows, the Internet, press, video promotion, advertising and sponsorships, sales and licensing. Students create a complete marketing plan utilizing handy templates included in the course resource, and receive useful feedback during three in-class work hours. Two lecture hours per week for one MUBUS-308 OWNING AND OPERATING A MUSIC BUSINESS () Students learn the legal aspects of starting a business, including trademark searches and clearances, DBAs, licenses, setting up the tax structure, and obtaining business loans and grants. Topics also include: managing daily business operations such as hiring employees, taking inventory, basic business accounting, and more. Two lecture hours per week for one // MUSIC BUSINESS ENTREPRENEUR Music Business Entrepreneur students must complete their elective requirements by choosing among the following courses only: MUBUS-3E SPONSORSHIPS AND ENDORSEMENTS () Sponsorships and endorsements provide a variety of resources that can advance an artist s career. In this course, students learn strategies for approaching companies and presenting successful proposals. One lecture hour per week for one MUBUS-36E LEADERSHIP () Students learn methods for developing the leadership qualities that enable music business professionals to set an example for employees and motivate them in the workplace. Class discussions include: What are the qualities of a leader? Why do some lead and others follow? How to hire the best workers, reward employees, identify employee behavior, and motivate people. One lecture hour per week for one MUBUS-37E PREPARING YOUR PROFESSIONAL BUSINESS PLAN () Students learn how to develop and write a professional plan for starting and growing your business. Topics include: market and industry analysis, management and organizational structure, financial projections, estimating start-up costs, and more. As a final project, each student presents a complete plan for his or her own music-related business. Two lecture hours per week for one BASS // BASS BASS-PL PRIVATE LESSON () A weekly individual instrument lesson that supports core curriculum goals. An instructor guides the student in developing technique, musicianship and style. CC-03B-CC03B LIVE PERFORMANCE WORKSHOPS () Students perform in a variety of styles and settings (see section on Live Playing Workshops for overview of workshop offerings). Minimum requirement of ten performances per One ensemble hour per week per BASS-03 BASS PERFORMANCE 03 () Students develop fundamental technical approaches to a variety of popular styles through weekly live performance. Concentration is placed on listening, dynamics, awareness of song form, basic chart reading, instrument & amp setup, and tone. This class coordinates with Bass Technique 0 and Bass Reading 0 topics. Two lecture/ensemble hours per week for one BASS-03 BASS PERFORMANCE 03 () Prerequisites: BASS-03 Bass Performance 03. Continuation of ensemble performing experience, including intermediate-level chart reading as well as further development of practical performing techniques. This will include: giving and following cues, dialing in appropriate tone and feel. This class coordinates with Bass Technique 0 and Bass Reading 0 topics. Two lecture/ensemble hours per week for one BASS-30 BASS PERFORMANCE 30 () Prerequisites: BASS-03 Bass Performance 03. Ensemble performance emphasizing stylistic rhythm section textures and applied techniques. Emphasis is placed on handling variations in typical song form, improving chart-reading skills, and taking a leadership role within the group. This class coordinates with Bass Technique 0 and Bass Reading 0 topics. Two lecture/ensemble hours per week for one BASS-30 BASS PERFORMANCE 30 () Prerequisites: BASS-30 Bass Performance 30. Ensemble performance emphasizing applied techniques and advanced concepts, such as odd meters and metric modulation. Emphasis is also placed on handling variations in typical song form, strengthening chart- reading skills and developing time feel, including odd-meter concepts. This class coordinates with Bass Technique 0 and Bass Reading 0 topics. Two lecture/ensemble hours per week for one BASS-0 BASS TECHNIQUE 0 () This course covers techniques for finger-style bass playing, including correct posture, hand positioning, finger independence, picking (use of plectrum) and muting. All techniques are mastered through extensive exercises. Fretboard harmony is introduced through major scales, triads and intervals. One lecture hour and two lab hours per week for one BASS-0 BASS TECHNIQUE 0 () Prerequisites: BASS-0 Bass Technique 0. This course covers techniques for slap- style bass playing, including thumb/pluck technique, muting, articulation, rhythmic variations and embellishment. Fretboard harmony study continues with melodic development exercises, scale sequencing and the introduction of the minor scale. One lecture hour and two lab hours per week for one BASS-0 BASS TECHNIQUE 0 () Prerequisites: BASS-0 Bass Technique 0. Continued study of techniques, with a concentration on versatile approaches to standard rhythms, grooves and feels, COURSE DESCRIPTIONS including eighth-note and sixteenth-note grooves, straight and swung. Fretboard harmony will cover chords and scales, including pentatonics, blues harmony, minor scale variations, and extended chords. One lecture hour and two lab hours per week for one BASS-0 BASS TECHNIQUE 0 () Prerequisites: BASS-0 Bass Technique 0. A continuation of Bass Technique 0 with concentration on grooves, additional striking hand techniques and approaches to soloing. Fretboard harmony will continue examining minor scale variations, modes and improvisation. One lecture hour and two lab hours per week for one BASS-0 BASS READING 0 () This course introduces the novice reader to the basic elements of music reading in bass clef, including rhythmic subdivisions, pitch identification, introduced to time signature studies (/ & 3/) and position playing on all four strings and scale forms. Students perform in solo and ensemble settings. This class coordinates with Bass Technique 0 and Bass Performance 03 topics. One lecture hour and one lab hour per week for one BASS-0 BASS READING 0 () Prerequisites: BASS-0 Bass Reading 0. A continuation of Bass Reading 0. This course introduces the bassist to more advanced elements of music reading, including triplet subdivisions, time signature studies (/ & 3/), dotted notes, ties, dynamic markings, chord symbols, reading in ensembles (duets or trio) and basic chart reading. Continued position playing has the student focusing on the lower and middle register of the neck. This class coordinates with Bass Technique 0 and Bass Performance 03 topics. One lecture hour and one lab hour per week for one BASS-0 BASS READING 0 () Prerequisites: BASS-0 Bass Reading 0. In addition to continued position and specified key reading, this course preps the student to read longer forms through bass clef notation transcriptions and chord charts. Interpreting melodies and rhythms in different styles are also presented in detail. Position playing has the student revisiting the lower register but with concentrated focus on the middle register of the neck. Sight-reading concepts will be introduced. This class coordinates with Bass Technique 0 and Bass Performance 30 topics. One lecture hour and one lab hour per week for one BASS-0 BASS READING 0 () Prerequisites: BASS-0 Bass Reading 0. The Bass Reading 0 curriculum continues with position and specific key(s) reading in the upper register of the neck. Continuing with sight-reading concepts and exercises. This course will introduce odd- meter concepts and exercise reading of treble clef notation, compound meter, metric modulation, jazz chart reading, lead sheets and transcribing. This class coordinates with Bass Technique 0 and Bass Performance 30 topics. One lecture hour and one lab hour per week for one COURSES THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

65 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES BASS-0 BASS GEAR MAINTENANCE & MASTERY () This course covers critical techniques of bass setup and maintenance, such as truss rod adjustment, setting intonation, action, minor wiring repairs, as well as basic concepts to assure the longevity and performance of bass amps and cables. In addition, this course introduces many elements that make up a contemporary bassists signal chain and how these components interact to best facilitate the tones and techniques required of a professional bassist in multiple different working environments and genres. One lecture hour per week for one BASS-05 BASS & DRUM CONCEPTS () Prerequisite: BASS-0 Bass Technique 0, BASS-0 Bass Technique 0, and BASS-03 Bass Performance 03. Performance workshop for bassists that takes an in-depth look at the musical dependency between the two instruments and the effect that it has on the groove. Particular attention is given to the intertwining of bass and drum parts and solidifying the groove. One ensemble hour per week for one AUDIO-056 DAW : REASON () An introduction to digital audio technology as an essential tool for the creation of instrument-based recordings. Topics covered include: working with audio and MIDI, virtual instruments, effects, drum programming, time stretching, and working with loops. One lecture hour per week for one AUDIO-56 DAW : REASON () Prerequisites: AUDIO-56 DAW : Reason. The second level of this course focuses on using Reason as a mixing and mastering tool. Topics include: EQ, compression, effects, automation, and mastering using Reason s Channel Strip. Upon successful completion, students should be able to create, edit, mix and master their work. One lecture hour per week for one BASS-370 SYNTH BASS () This course is an introduction to keyboard bass playing from a bass player s perspective. The layout and controls of a synthesizer and basic keyboard techniques will be discussed in great detail. Popular songs featuring prominent keyboard basslines will also be discussed. One lecture/lab hour per week for one BASS-350 UPRIGHT BASS WORKSHOP () Study and performance of the upright bass. The curriculum is designed to be a comprehensive resource for the electric bass player making the transition to the upright bass. Use of fingers and the bow will be discussed. When repeated for credit, the instructor will determine course content and objectives. One lecture/lab hour per week for one BASS-50 UPRIGHT BASS WORKSHOP () Prerequisites: BASS-350 Upright Bass Workshop : Continuation of performance on the upright bass. The curriculum is designed to be a comprehensive resource for the electric bass player making the transition to the upright bass. Use of fingers and the bow will be discussed. When repeated for credit, the instructor will determine course content and objectives. One lecture/lab hour per week for one BASS-360 PROJECT RECORDING : BASS () Prerequisites: Bass Reading 0, Bass Technique 0, Bass Performance 30. This course is designed to mimic the real world scenario of tracking bass in a -track studio. Topics include: developing bass parts, sight-reading charts, performing with backing tracks, overdubbing, punching in, as well as performing with loops and backing tracks. Studio etiquette and sound development are also presented in detail. Each student receives an HD video of his or her final performances. One private recording session hour per week for one BASS-60 PROJECT RECORDING : BASS () Prerequisites: BASS-360 Project Recording : Bass. A continuation of Project Recording : Bass by learning techniques and experiences, including advanced styles such as odd-meter performance and soloing. Detailed bass tones, amp settings and microphone placement are also covered. Each student receives an HD video of his or her final performance. One private recording session hour per week for one PROFESSIONAL DEVELOPMENT // BASS MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS (.5) The first in a two-quarter course sequence, designed to provide students with an understanding of the entertainment industry, as it exists today, and essential knowledge for sustaining a career in the digital era. In Applied Entertainment Business, topics include an overview of industry structure, the artist s team (manager, attorney, agent, etc.), copyrights and music publishing, band partnerships and solo artists, employment agreements, work-for-hire, unions and more. One lecture hour per week for one MUBUS-060 APPLIED ENTERTAINMENT BUSINESS (.5) Prerequisites: MUSBUS-0360 Applied Entertainment Business. This course is a continuation of Applied Entertainment Business, further covering the most important areas and aspects of the entertainment industry. Topics include: record labels (major and indie), types of deals, the DIY market, distribution, touring, merchandising, and more. S.M.A.R.T. goal setting is also covered to support students in creating a path to career success. One lecture hour per week for one MUBUS-00 MEDIA RELATIONS () Students learn the difference between publicity and public relations, how to create and implement media campaigns, and how to write artist bios, press releases, news releases, and eye-catching headlines. Skills apply to independent artists as well as those aspiring to work in the industry. Two lecture hours per week for one CC-307 VISUAL MEDIA () Students learn how to use Adobe Photoshop to design original CD artwork, flyers, promotional tools, and other visual materials vital to modern Independent Artists. Emphasis is on creating exciting and expressive designs that directly support music marketing campaigns. Topics covered in this class include: typography, flyer design, album artwork design, image manipulation, merchandise design, and more. Two lecture hours per week for one CC-07 VISUAL MEDIA () Prerequisites: CC-307 Visual Media. The Internet has opened up an enormous opportunity for musicians to promote themselves directly to music fans. This course focuses on the technical skills needed to promote music online. Topics include: building a strong online presence, creation of a content-rich artist website, online marketing tools and strategies, video editing basics, and social media. Two lecture hours per week for one MUBUS-0307 INDEPENDENT ARTIST MARKETING () This course reveals basic marketing concepts applicable to any professional business venture and focuses on the creation of a fully customized, low-budget marketing plan of attack. Furthermore, at a time when new technologies make it more possible than ever for artists to leverage their own careers, there has never been a greater need for practical, independent marketing advice. After identifying a business vision, students conduct research, set short-term goals, and create an integrated mix of marketing strategies to achieve their objective, including defining an image, brand, position, and format, identifying the target audience, gaining access to radio, as well as effectively utilizing live shows, the Internet, press, video promotion, advertising and sponsorships, sales and licensing. Students create a complete marketing plan utilizing handy templates included in the course resource, and receive useful feedback during three in-class work hours. Two lecture hours per week for one // BASS CC-05 RHYTHM READING WORKOUT () This course is designed to give Performance Program students a solid foundation in reading rhythms. Students will focus solely on understanding rhythmic notation and subdividing basics. Topics covered include: notation basics (bar lines, time signatures) notes and rests (ranging from whole note to sixteenth note values), note value relationships, counting, triplets and syncopation. One lecture/lab hour per week for one CC-05 RHYTHM READING WORKOUT () Prerequisites: CC-05 Rhythm Reading Workout. This class is designed to give Performance Program students an understanding of intermediate rhythm concepts. Topics covered include: dotted notes, tied notes, swung eighth and sixteenth notes, advanced time signatures (cut time, 3/, 6/8) and mixed meters. One lecture/lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) This course is an introduction to the harmony and theory used within popular music. This is accomplished through the application of music notation (for pitch), major scales, key signatures, intervals, triads, and major scale harmonies. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course is a continuation of Harmony & Theory 0. This is accomplished through the further study of musical notation, diatonic structures, rhythmic values, time signatures, natural minor scales (and variations), minor key signatures, harmonized minor scales, chord inversions, diatonic seventh chords, triad analysis, chord progressions, and key centers. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents variations on diatonic structures from Harmony & Theory 0. Highlights include: pentatonic and blues scales, inverted, extended and non-standard chord types, chord symbols and modes, and voice leading and chord progressions. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents non-diatonic melodic and harmonic concepts. Highlights include: minor key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation, chromatic modulations, Roman numeral analysis, altered and symmetrical scales. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) This course is an introduction to ear training techniques, which can be used within popular music. This is accomplished through the technique of matching specific pitches, major scale melodies, and melodic intervals. Melodic and harmonic intervals, chromaticism, triads, diatonic harmony, rhythm are also studied. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC- Ear Training 0. This course is a continuation of Ear Training 0, through the further study of meter and rhythm, eighth-note phrases, sightsinging, transcribing melody and rhythm, melodic and harmonic intervals, triad qualities, and diatonic major chord progressions. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application- based continuation of Ear Training 0 that focuses on the recognition and transcription of pentatonic scales, simple major and minor pentatonic melodies, triplet rhythms, blues scales, natural minor scale and its variations, chord progressions utilizing inversions, diatonic minor key COURSES 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

66 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES chord progressions, chord progressions in Roman numerals, seventh chords. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application- based continuation of Ear Training 0 that focuses on the recognition and transcription of sixteenth-note rhythmic phrases, standard variations in minor-key melody and harmony, and seventh chord major and minor diatonic harmony. One lecture hour and one lab hour per week for one CC-08 KEYBOARD PROFICIENCY () Keyboard Proficiency serves as an introduction to contemporary keyboard technique. Through the study of physical posture, finger technique, diatonic scales & chord progressions, this course will enable students to develop the necessary motor skills required for using the keyboard both as a performing instrument and compositional tool. One lecture hour and one lab hour per week for one CC-08 KEYBOARD PROFICIENCY () Prerequisites: CC-08 Keyboard Proficiency. This course further develops the technical skills required for successful keyboard performance and musical comprehension. Pop and Classical repertoire performance serves as the main focus of this course, in addition to further study of chord progressions and scales. One lecture hour and one lab hour per week for one CC-306 SONGWRITING (.5) Fundamentals of contemporary music creation, including song structure, tempo, lyrics, melody, harmony, rhythmic elements, and subjective emotional qualities. This course is equivalent to ARTST-. Two lecture/lab hours per week for one CC-06 SONGWRITING (.5) Prerequisites: CC-306 Songwriting. Continued development of contemporary songwriting skills, including application of fundamental concepts to the creation of original material based on topics and genres provided by the instructor. Includes critique and discussion. This course is equivalent to ARTST-E. Two lecture/lab hours per week for one BASS-SPECIFIC AVAILABLE ONLY TO BASS MAJORS BASS-08E BASS & VOCALS () Prerequisites: BASS-0 Bass Reading 0. This course will provide bass players with the needed skills to be able to sing and play their instruments in working situations. Students will be trained in the ability to sing and play background and lead vocals in popular music settings. One lecture-ensemble hour per week for one BASS-05E BASS AND DRUM WORKSHOPS () Performance workshop for bassists and drummers that takes an in-depth look at the musical dependency between the two instruments and the effect that it has on the groove. Particular attention is given to the intertwining of bass and drum parts and solidifying the groove. Two workshop hours per week for one BASS-05E JAMES BROWN RHYTHM SECTION () Performance workshop for bassists and drummers utilizing detailed transcriptions from the book The Funkmasters: The Great James Brown Rhythm Sections Students will perform the bass lines and grooves in class with drummers. One lecture hour per week for one BASS-060E AFRO-CUBAN BASS () This course explores different styles of Afro-Cuban music, including bolero, cha- cha, mambo, songo, naningo, and merengue. Students apply rhythms to standard Latin tunes during class performances. One lecture hour per week for one BASS-06E BRAZLIAN BASS () This course explores different styles of Brazilian music, including bossa nova, samba, partido alto, and Bahia. Students apply rhythms to standard Latin tunes during class performances. One lecture hour per week for one BASS-068E SLAP BASS 0 () This hands-on workshop is designed to enhance slap technique and groove. Songs, exercises and grooves in a variety of musical styles are used to develop thumb strength, slap syncopation, rhythm, phrasing, ad-lib and funk licks, soloing, shuffle, swing, and funk grooves. Performances are followed by critique and discussion. One lecture hour per week for one BASS-069E ODD METER BASSLINES () This curriculum is designed to be a comprehensive resource for bass players to understand odd meter rhythms and create bass lines and solos. Students will be introduced to concepts that will provide mastery of odd meter music and will be tested on these concepts at the end of the One lecture hour per week for one BASS-070E BEATLES BASSLINES () This course explores the basslines of Paul McCartney in the context of Beatles repertoire through transcription, analysis, and performance. One lecture hour per week for one BASS-078E MODERN ROCK BASS: PLAYERS () This course is designed to be a comprehensive study of players including Flea and Les Claypool, and their electric bass performance techniques. Not only does this course include a set of detailed transcriptions; but it also contains a thorough set of performance notes for each player and subgenre as well. One lecture hour per week for one BASS-7E UPRIGHT BASS WORKSHOP () Study and performance of the upright bass. A limited enrollment workshop. This course is designed to be a comprehensive resource for the electric bass player making the transition to the upright bass as well as continued instruction for more advanced upright players. Use of fingers and the bow will be discussed and practiced. Curriculum and course pacing will reflect the level of experience and needs of the individual students. One performance hour per week for one May be repeated for credit. // BASS Bass students may fulfill their elective credit requirements by choosing from program-specific electives, Common Course electives, or entry-level electives offered by other programs; see course offerings for options. BASS-050E 0TH CENTURY JAZZ BASS I () This listening/lecture course traces the evolution of the jazz rhythm section, in particular the evolution of basslines, from the time of Louis Armstrong through Bill Evans and Brad Mehldau. One lecture hour per week for one BASS-06E BLUES BASS () This course focuses on standard blues progressions, rhythmic interpretation and pentatonic scale construction. Specific topics include: -bar and 8-bar form, minor blues, straight and swing eighth-note interpretation, and application of major and minor pentatonic scales, as well as standard blues bass patterns, improvised basslines, and fills. One lecture hour per week for one BASS-067E R&B/FUNK BASS () This course is designed to expose bassists to classic R&B and funk styles through the extensive use of detailed transcriptions, including Stax, Motown, Earth, Wind & Fire, Tower of Power and other influential songs, players, and styles. One lecture hour per week for one BASS-07E CLASSIC METAL BASSLINES () An examination of the history and evolution of heavy metal basslines. Specific techniques and styles are studied through extensive transcriptions and written examples. One lecture hour per week for one BASS-07E CONTEMPORARY METAL BASSLINES () This course concentrates on specific metal bass techniques, including two-handed tapping and three-finger picking. Includes extensive transcriptions and written examples from such contemporary metal bands as Cynic, Lamb of God, and artists such as Billy Sheehan and Stuart Hamm. One lecture hour per week for one BASS-077E WALKING BASSLINES () This course is designed to help the bassist construct and connect walking bass lines through various chord changes and forms. One lecture hour per week for one ADVANCED Note: For full details, refer to the course description for each prerequisite named in your elective of interest. BASS-05E TOWER OF POWER BASSLINES () Prerequisites: BASS-0 Bass Reading 0, BASS-0 Bass Technique 0. Students will study, analyze, and learn the style, technique, and grooves of the great bass lines of Tower of Power bassist Francis Rocco Prestia. One lecture hour per week for one BASS-05E ADVANCED BASS RSW () Prerequisites: BASS-0 Bass Reading 0, BASS- 0 Bass Technique 0. For the advanced bassist, this workshop uses original compositions to explore the intricate technical possibilities of the instrument in a group setting, with a concentration on the groove. One lecture hour per week for one BASS-5E ADVANCED BASS RSW () Prerequisites: BASS-0 Reading, BASS-0 Bass Technique. Additional studies in advanced rhythm section performance (BASS-O5E and BASS-5E may be taken in any order). One lecture hour per week for one BASS-073E JACO PASTORIUS BASSLINES () Prerequisites: BASS-0 Bass Reading 0, BASS-0 Bass Technique 0. This course focuses on the structural, theoretical, technical and harmonic aspects of classic recordings and basslines from one of the most influential bass guitarists in the history of contemporary music. The in-depth analysis of Jaco s work will include examples from his original compositions as well as his work with Weather Report, Joni Mitchell, Pat Metheny, and others. One lecture hour per week for one BASS-065E MOTOWN BASS () Prerequisites: BASS-0 Reading 0. Students study the work of legendary bassist James Jamerson using transcriptions taken from the book Standing in the Shadows of Motown. Students perform examples in class with playalong tracks. One lecture hour per week for one BASS-65E MOTOWN BASS () Prerequisites: BASS-0 Bass Reading 0. Additional studies in Motown bass style (BASS 065E and BASS-65E may be taken in any order). One lecture hour per week for one BASS-5E CONTEMPORARY IMPROVISATION () Prerequisites: BASS-0 Bass Technique 0. This course explores an in-depth analysis of diatonic and chromatic passing notes used to create basslines and solos over standard chord progressions. Students will learn to create linear basslines and solos utilizing these concepts over diatonic and non-diatonic chord progressions with applications to -, 5-, and 6-string electric bass. One lecture hour per week for one BASS-53E MODAL IMPROVISATION () Prerequisites: BASS-0 Bass Technique 0. Students learn how to analyze scale choices for eight standard chord types and play smoothly through various types of chord progressions. One lecture hour per week for one COURSES 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

67 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES BASS-7E LED ZEPPELIN BASSLINES () Prerequisites: BASS-0 Bass Reading 0. This course explores the bass lines of John Paul Jones in the context of the Led Zeppelin repertoire, including extensive and detailed transcriptions, performance, and analysis. One lecture hour per week for one DRUM // DRUM DRUM-PL PRIVATE LESSON -6 () A weekly individual instrument lesson that supports core curriculum goals. An instructor guides the student in developing technique, musicianship and style. Twelve credit units required (two per quarter). CC-03D-CC03D LIVE PERFORMANCE WORKSHOPS () Students perform in a variety of styles and settings (see section on Live Playing Workshops for overview of workshop offerings). Minimum requirement of ten performances per One ensemble hour per week per Six credit units required (one per quarter). DRUM-03 DRUM PERFORMANCE 03 () This course covers fundamental technical approaches to a variety of popular styles. Lessons on essential skills needed for a professional drummer such as: listening, dynamics, song form, basic chart reading, instrument setup, and drum set sound are presented. This class coordinates with topics within Drum Technique 0 and Drum Reading 0. Two lecture/ensemble hours per week for one DRUM-03 DRUM PERFORMANCE 03 () Prerequisites: DRUM-03 Drum Performance 03. Continuation of ensemble performing experience, including intermediate-level chart reading as well as further development of practical performing techniques, such as giving and following cues, drum set sound and feel. This course coordinates with topics within Drum Technique 0 and Drum Reading 0. Two lecture/ensemble hours per week for one DRUM-30 DRUM PERFORMANCE 30 () Prerequisites: DRUM-03 Drum Performance 03. This course covers ensemble performance emphasizing stylistic rhythm section textures and applied techniques. Emphasis is placed on handling variations in typical song form, advanced chart-reading skills, and taking a leadership role within the group. This course coordinates with Drum Technique 0 and Drum Reading 0 topics. Two lecture/ensemble hours per week for one DRUM-30 DRUM PERFORMANCE 30 () Prerequisites: DRUM-30 Drum Performance 30. Ensemble performance emphasizing applied techniques and advanced concepts, such as odd meters and metric modulation. Emphasis is also placed on handling variations in typical song form, improving odd meter chart reading skills, metric modulations and developing time feel. This course coordinates with Drum Technique 0 and Drum Reading 0 topics. Two lecture/ ensemble hours per week for one DRUM-0 DRUM TECHNIQUE 0 () This course covers introductory hand technique for the drum set player. Essential (and relevant) grips, strokes, posture and rudiments are essential developmental areas for all drummers. This course coordinates with Drum Performance 03 and Drum Reading 0 topics. Two lecture/ensemble hours per week for one DRUM-0 DRUM TECHNIQUE 0 () Prerequisites: DRUM-0 Drum Technique 0. This course presents intermediate hand technique as applied to the drum set. The transition of essential rudiments from the practice pad to the drum set is essential for all drummers in order to develop a deep vocabulary. Creativity and functionality is developed through technique building. This course coordinates with Drum Performance 03 and Drum Reading 0 topics. Two lecture/ ensemble hours per week for one DRUM-0 DRUM TECHNIQUE 0 () Prerequisites: DRUM-0 Drum Technique. This course presents intermediate to advanced hand technique concepts as applied to the drum set, including rudimental advancement, and limb independence. Intermediate drummers need to further develop their ability and understanding of stick control and the subtleties included. This course coordinates with Drum Performance 30 and Drum Reading 0 topics. Two lecture/ ensemble hours per week for one DRUM-0 DRUM TECHNIQUE 0 () Prerequisites: DRUM-0 Drum Technique 0. This course presents advanced hand technique concepts as applied to the drum set, including rudimental drum set application and creative development. This course coordinates with Drum Performance 30 and Drum Reading 0 topics. Two lecture/ensemble hours per week for one DRUM-0 DRUM READING 0 () This course presents introductory fundamentals of singleline and drum set reading. Students learn notation basics, basic note and rest values, subdividing, and sight-reading skills. This course coordinates with Drum Technique 0 and Drum Performance 03 topics. DRUM-0 DRUM READING 0() Prerequisites: DRUM-0 Drum Reading 0. This course presents drum set application of fundamental rhythms. Topics include: time signature studies, note-value relationships, false notation, counting, and subdivision exercises. Interpreting rhythms at the drum set, 3-way independence studies and basic chart reading are also presented in detail. This course coordinates with Drum Technique 0 and Drum Performance 03 topics. Two lecture hours per week for one DRUM-0 DRUM READING 0 () Prerequisites: DRUM-0 Drum Reading 0. This course presents the essential reading fundamentals needed by professional- level drummers: lead sheet interpretation, drum set orchestration, sight-reading, and ensemble figure set-up fills. One and two-bar ensemble figures are presented in varying styles accompanied by orchestration and fill suggestions. This course coordinates with Drum Technique 0 and Drum Performance 30 topics. One lecture hour and one lab hour per week for one DRUM-0 DRUM READING 0 () Prerequisites: DRUM-0 Drum Reading 0. This course presents the advanced reading concepts needed by professional- level drummers: lead sheet interpretation, drum set orchestration, sight-reading, and ensemble figure set-up fills. Advanced concepts such as metric modulations and cut time will also be presented. This course coordinates with Drum Technique 0 and Drum Performance 30 topics. One lecture hour and one lab hour per week for one DRUM-05 DEVELOPING YOUR GROOVE () This course helps drummers to apply fundamental rhythms to the drum set, which improve time, feel, independence, and sound. Coordination drills are introduced and performed in class within rock and jazz styles. One lecture/ ensemble hour per week for one DRUM-0 DRUM GEAR MAINTENANCE & MASTERY () This is an introductory course presenting hands-on lessons on seminal drum equipment care, including equipment specifications, inspection, maintenance, repair, cleaning, mounting, repair, restoration, storage and gear selection and options. Additionally, this course offers in-depth sound design workshops where students learn to tune and create appropriate drum sounds from multiple eras of recorded music with an emphasis on modern sounds. Specific topics include how to make the proper drum, drumhead and tuning choices for all situations. One lecture/lab hour per week for one DRUM-0 E-DRUMMING ESSENTIALS () Prerequisite: Successful completion of either AUDIO- 5/5E (Logic ), or AUDIO-57/57E (ProTools 0), or AUDIO-56/56E (Reason ). This course focuses on developing a basic understanding of programming and performing with electronic percussion instruments. Concepts such as sampling, looping and triggering will be covered during class and explored with weekly assignments. Upon successful completion of the course, the student will be comfortable with using electronic percussion for both performance and practice settings. In addition, the student will have a basic understanding of programming electronic percussion instruments in their respective modules and with computer programs such as Ableton Live. One lecture/ lab hour per week for one DRUM-0 DRUM GEAR MASTERY () Prerequisites: DRUM-0 Drum Gear Maintenance. An indepth sound design workshop where students learn to tune and mimic appropriate drum sounds from all eras of recorded music with an emphasis on modern sounds. One lecture/lab hour per week for one DRUM-05 TIMEKEEPING () Prerequisites: DRUM-05 Developing Your Groove. This course applies developed groove-based coordination to metronome usage and verbal counting. One lecture/ ensemble hour per week for one AUDIO-056 DAW : REASON () An introduction to digital audio technology as an essential tool for the creation of instrument-based recordings. Topics covered include working with audio and MIDI, virtual instruments, effects, drum programming, time stretching and working with loops. One lecture hour per week for one AUDIO-56 DAW : REASON () Prerequisites: AUDIO-056 DAW : Reason. The second level of this course focuses on using Reason as a mixing and mastering tool. Topics include: EQ, compression, effects, automation, mastering using Reason s Channel Strip. Upon successful completion, students should be able to create, edit, mix and master their work. One lecture hour per week for one DRUM-350 ADVANCED DRUMMING STYLES: JAZZ () Prerequisites: DRUM-0 Drum Technique 0, DRUM-30 Drum Performance 30. This course presents the historical, stylistic and technical evolution of Jazz from Dixieland to 950s Bebop. In addition, the basic elements of jazz drumming techniques include: ride patterns and left-hand comping, basic independence and coordination, ensemble interaction, and soloing concepts. One lecture hour plus one lab hour per week for one DRUM-50 ADVANCED DRUMMING STYLES B: LATIN () Prerequisites: DRUM-350 Advanced Drumming Styles: Jazz. This course develops authentic stylistic hand and foot techniques through listening, demonstration, and classroom practice, with emphasis on popular Brazilian styles, including bossa nova and samba. One lecture hour plus one lab hour per week for one DRUM-5 ADVANCED DRUMMING A: JAZZ () Prerequisites: DRUM-0 Drum Technique 0 and DRUM- 350 Advanced Drumming Styles: Jazz. This course is designed to help today s student drummer quickly (and efficiently) learn the Jazz idiom. It is an inclusive and in-depth study of how to authentically perform alongside a rhythm section within Jazz s popular styles and forms. Not only does this class and curricula include a set of detailed charts; but each composition also focuses on a particular musical form, drum set sound, solo concept, and comping approach. Genre-relevant, drumset-based rudimental voicings and simple brush patterns will also be presented. Altogether (and upon completing this study), the student will be able to function within a jazz ensemble (and sound like they belong there). One lecture hour and one ensemble hour per week for one DRUM-5 Advanced Drumming C: R&B/ Gospel () Prerequisites: DRUM-0 Drum Technique 0 and DRUM- 350 Advanced Drumming Styles: Jazz. This course is designed to help today s student drummer quickly (and efficiently) learn R&B/Gospel drumming techniques. It is COURSES 30 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

68 COURSES COURSE DESCRIPTIONS an in-depth study of how to perform popular R&B/Gospel styles and forms. This course takes the technical building blocks (linear drumming, hand/foot fill combinations, over -the-bar rhythms, soloing ostinatos and metric modulation) presented in Drum-0 and applies these techniques within a modern R&B/Gospel rhythm section. Instructions on understanding each song s form, rhythmic figures, feel, comping, solo approaches and appropriate drum set sound are also presented. This class presents each student with a weekly assignment that focuses on a particular R&B/Gospel form; drum set sound, groove concept and improvisational approach. Upon completing this course, the student will be able to apply advanced technical drumming concepts in a musical and comprehensive manner. One lecture hour and one ensemble hour per week for one DRUM-360 PROJECT RECORDING : DRUMS () Prerequisites: DRUM-0 DRUM Reading 0, DRUM-0 Drum Technique 0, DRUM-30 Drum Performance 30. This course is designed to mimic the real world scenario of drum tracking in a -track studio. Topics include: developing drum parts, sight-reading charts, performing with backing tracks, overdubbing and punching in, and learning to lock in with loops and backing tracks. Studio etiquette and sound development are also presented in detail. Each student receives an HD video of his or her final performances. Two lecture hours per week for one DRUM-60 PROJECT RECORDING : DRUMS () Prerequisites: DRUM-360 Project Recording : Drums. A continuation of studio drumming techniques and experiences, including advanced styles, such as odd-meter performance and soloing. Detailed drum tuning and microphone placement are also covered. Each student receives an HD video of his or her final performance. Two lecture hours per week for one PROFESSIONAL DEVELOPMENT // DRUM MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS (.5) The first in a two-quarter course sequence, designed to provide students with an understanding of the entertainment industry, as it exists today, and essential knowledge for sustaining a career in the digital era. In Applied Entertainment Business, topics include an overview of industry structure, the artist s team (manager, attorney, agent, etc.), copyrights and music publishing, band partnerships and solo artists, employment agreements, work-for-hire, unions and more. One lecture hour per week for one MUBUS-060 APPLIED ENTERTAINMENT BUSINESS (.5) Prerequisites: MUSBUS-0360 Applied Entertainment Business. This course is a continuation of Applied Entertainment Business, further covering the most important areas and aspects of the entertainment industry. Topics include: record labels (major and indie), types of deals, the DIY market, distribution, touring, merchandising, and more. S.M.A.R.T. goal setting is also covered to support students in creating a path to career success. One lecture hour per week for one MUBUS-00 MEDIA RELATIONS () Students learn the difference between publicity and public relations, how to create and implement media campaigns, and how to write artist bios, press releases, news releases, and eye-catching headlines. Skills apply to independent artists as well as those aspiring to work in the industry. Two lecture hours per week for one CC-0307 VISUAL MEDIA () Students learn to use Adobe Photoshop to design original CD artwork, flyers, promotional tools, and other visual materials vital to modern independent artists. Emphasis is on creating exciting and expressive designs that directly support music marketing campaigns. Topics covered in this class include: typography, flyer design, album artwork design, image manipulation, merchandise design, and more. Two lecture hours per week for one CC-07 VISUAL MEDIA () Prerequisites: CC-307 Visual Media. The Internet has opened up an enormous opportunity for musicians to promote themselves directly to music fans. This course focuses on the technical skills needed to promote music online. Topics include: building a strong online presence, creation of a content-rich artist website, online marketing tools and strategies, video editing basics, and social media. Two lecture hours per week for one MUBUS-307 INDEPENDENT ARTIST MARKETING () This course reveals basic marketing concepts applicable to any professional business venture and focuses on the creation of a fully customized, low-budget marketing plan of attack. At a time when new technologies make it more possible than ever for artists to leverage their own careers, there has never been a greater need for practical, independent marketing advice. After identifying a business vision, students conduct research, set short-term goals, and create an integrated mix of marketing strategies to achieve their objective. Students create a complete marketing plan utilizing handy templates included in the course resource, and receive useful feedback during three one-hour lab. Two lecture hours per week for one // DRUM CC-0 HARMONY & THEORY 0 (.5) This course is an introduction to the harmony and theory used within popular music. This is accomplished through the application of music notation (for pitch), major scales, key signatures, intervals, triads, and major scale harmonies. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course is a continuation of Harmony & Theory 0. This is accomplished through the further study of musical notation, diatonic structures, rhythmic values, time signatures, natural minor scales (and variations), minor key signatures, harmonized minor scales, chord inversions, diatonic seventh chords, triad analysis, chord progressions, and key centers. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents variations on diatonic structures from Harmony & Theory 0. Highlights include: pentatonic and blues scales, inverted, extended and non-standard chord types, chord symbols and modes, and voice leading and chord progressions. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents non-diatonic melodic and harmonic concepts. Highlights include: minor key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation, chromatic modulations, Roman numeral analysis, altered and symmetrical scales. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) This course is an introduction to ear training techniques, which can be used within popular music. This is accomplished through the technique of matching specific pitches, major scale melodies, and melodic intervals. Melodic and harmonic intervals, chromaticism, triads, diatonic harmony, rhythm are also studied. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC- Ear Training 0. This course is a continuation of Ear Training 0, through the further study of meter and rhythm, eighth-note phrases, sightsinging, transcribing melody and rhythm, melodic and harmonic intervals, triad qualities, and diatonic major chord progressions. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application- based continuation of Ear Training 0 that focuses on the recognition and transcription of pentatonic scales, simple major and minor pentatonic melodies, triplet rhythms, blues scales, natural minor scale and its variations, chord progressions utilizing inversions, diatonic minor key chord progressions, chord progressions in Roman numerals, seventh chords. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application- based continuation of Ear Training 0 that focuses on the recognition and transcription of sixteenthnote rhythmic phrases, standard variations in minor-key melody and harmony, and seventh chord major and minor diatonic harmony. One lecture hour and one lab hour per week for one CC-08 KEYBOARD PROFICIENCY () Keyboard Proficiency serves as an introduction to COURSE DESCRIPTIONS contemporary keyboard technique. Through the study of physical posture, finger technique, diatonic scales & chord progressions, this course will enable students to develop the necessary motor skills required for using the keyboard both as a performing instrument and compositional tool. One lecture hour and one lab hour per week for one CC-08 KEYBOARD PROFICIENCY () Prerequisites: CC-08 Keyboard Proficiency. This course further develops the technical skills required for successful keyboard performance and musical comprehension. Pop and Classical repertoire performance serves as the main focus of this course, in addition to further study of chord progressions and scales. One lecture hour and one lab hour per week for one CC-306 SONGWRITING (.5) Fundamentals of contemporary music creation, including song structure, tempo, lyrics, melody, harmony, rhythmic elements, and subjective emotional qualities. This course is equivalent to ARTST-. Two lecture/lab hours per week for one CC-06 SONGWRITING (.5) Prerequisites: CC-306 Songwriting. Continued development of contemporary songwriting skills, including application of fundamental concepts to the creation of original material based on topics and genres provided by the instructor. Includes critique and discussion. This course is equivalent to ARTST-E. Two lecture/lab hours per week for one // DRUM Drum students may fulfill their elective credit requirements by choosing from program-specific electives, Common Course electives, or entry-level electives offered by other programs; see course offerings for options. DRUM-SPECIFIC AVAILABLE ONLY TO DRUM MAJORS DRUM-50E INTRODUCTION TO DRUM RECORDING () Prerequisites: DRUM-03 Drum Performance 03. An introductory course which presents the traditional recording studio to drum students. Specific topics presented include: the various physical attributes and components of the studio, common studio terms, and vernacular and performance techniques needed to be successful in the studio. Other topics include: techniques for altering and controlling your sound, how to manage headphone mixes, and playing to a click track plus prerecorded instrument tracks. One lecture/lab hour per week for one DRUM-60E HYBRID DRUMMING ENSEMBLE WORKSHOP () Prerequisite: DRUM-60E E-Drumming Essentials. An intermediate to advanced ensemble workshop designed to rehearse and perform as an electronic/acoustic drum ensemble. Students will apply their e-drumming knowledge as a performance ensemble. One additional aspect of this workshop is to include essential set-up/tear down technique and etiquette. Two workshop hours per week for one 3 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS COURSES

69 COURSE DESCRIPTIONS COURSE DESCRIPTIONS Prerequisites: GUIT-03 Guitar Performance 03. This course covers fundamental technical approaches to a variety of popular styles are presented and students will perform live on a weekly basis. Emphasis is placed on handling variations in typical song form, improving chart-reading skills, taking a leadership role within the group, plus introduction to a variety of styles such as classic and modern urban blues, classic R&B and Motown, contemporary R&B and neo-soul, the early rock styles of Bo Diddley and Chuck Berry, surf/rockabilly, contemporary musical theater, classic and modern country, country-rock, and southern rock. This course coordinates with Guitar Technique 0 and Guitar Reading 0 topics. Two lecture/ensemble hours per week for one COURSES May be repeated for credit. DRUM-050E HYBRID CAJON TECHNIQUES () This is an introductory course which presents Cajon playing basics in a contemporary setting. In addition to basic Cajon playing, hybrid set-ups are introduced with the addition of hand held percussion, mounted percussion, foot-operated percussion and drum set elements. Audio examples and playalongs are also included. One lecture hour per week for one DRUM-05E BASIC CARIBBEAN DRUMSET () Students learn how to perform basic Afro-Cuban and Brazilian styles on the drumset. Emphasis is on gaining the ability to effectively handle any Latin music-based performing situation. One lecture hour per week for one DRUM-07E DOUBLE BASS DRUM WORKOUT () This course covers the use of double bass drum as a means of furthering skills and broadening independence. Lectures, demonstrations, and exercises emphasize speed, technique, and control. One lecture hour per week for one DRUM-07E FILL FEST () This course shows how to develop a vocabulary of fills on the drum set. Each week, students are introduced to a new fill concept that can be applied to a variety of musical situations. This course includes written and audio examples of top contemporary rock drummers. Students write out and demonstrate their own fills and concepts throughout the class. One lecture hour per week for one DRUM-075E HOW TO PRACTICE () This course covers the structure and discipline of efficient, productive practicing on the drum set. Students develop individual practice routines and apply them to material covered in core courses. Also includes performance preparation (prioritizing, overcoming anxiety and more). One lecture hour per week for one DRUM-5E NEW ORLEANS DRUMMING () This course explores the historical, stylistic, and technical development of drummers from New Orleans. Students will learn the second-line grooves of early brass bands up through the invention of the backbeat and the irresistible funk that forces people to take it to the streets in a Mardi Gras parade. The individuals, rhythms, and culture of New Orleans that have shaped American music for the last 00 years will be presented. One lecture hour per week for one ADVANCED // DRUM Note: For full details, refer to the course description for each prerequisite named in your elective of interest. DRUM-7E DEVELOPING YOUR GROOVE: ADVANCED () Prerequisites: DRUM-05 Developing Your Groove. A continuation of Develop Your Groove with an emphasis on learning and applying ghost note patterns to grooves in a variety of styles along with variations of previously-learned patterns. One lecture-ensemble hour per week for one DRUM-05E THE DRUMMERS OF JAMES BROWN () Prerequisites: DRUM-0 Drum Reading 0. Students will dissect and learn the specific drum parts to classic James Brown tunes. Students will perform each week to either a metronome or prerecorded tracks. One lecture hour per week for one DRUM-5E FUNK DRUMS - CLASSIC () Prerequisites: DRUM-0 Drum Reading 0. Students will study the evolution of funk drumming from James Brown to the early 980s through listening and analysis of each groove supported by transcriptions. This course also includes discussions on how to practice the techniques covered. One lecture hour per week for one DRUM-5E FUNK DRUMS - MODERN () Prerequisites: DRUM-0 Drum Reading 0. Students study the evolution of funk drumming from the early 980s to the present day, including R&B and jazz influences on funk music, and the relationship between acid jazz, hip-hop, R&B, and earlier funk music. One lecture hour per week for one DRUM-56E BEBOP AND BEYOND () Prerequisites: DRUM-0 Drum Reading 0. This course focuses on a modern approach to playing jazz with a strong emphasis on bebop vocabulary and developing a musical flow of ideas. Topics discussed include: advanced comping and ride cymbal approach, advanced hi-hat techniques, development of motifs over standard song forms, polyrhythmic overlap, and metric modulation. One lecture hour per week for one DRUM-6E ANALYSIS OF GREAT GROOVES () Prerequisites: DRUM-0 Drum Reading 0. Through analysis of influential recordings, this course examines the techniques used by innovative drummers including John Bonham, Vinnie Colaiuta, Danny Carey, David Garibaldi, and others to create interesting and eclectic grooves. One lecture hour per week for one DRUM-65E DRUM SET SOLOING () Prerequisites: DRUM-0 Drum Reading 0. This course analyzes famous drum solos past and present from such pioneers as Max Roach and Art Blakey, to the innovations of Steve Gadd, Tony Williams, and Terry Bozzio, topped off with the grooving showmanship and technical talents of John Blackwell and others. One lecture hour per week for one DRUM-70E BRIDGING THE GAPS () Prerequisites: DRUM-0 Drum Reading 0. This course covers the application of essential drum rudiments, including single strokes, double strokes, triplets, flams, ruffs, 5-strokes, 6-strokes, 7-strokes, single paradiddle, double paradiddle, and triple paradiddle to grooves and fills utilizing the entire drum set. One lecture hour per week for one DRUM-7E GROOVIN IN ODD TIMES () Prerequisite: DRUM-0 Drum Reading 0. This advanced elective incorporates the development of technique, time, time feel, phrasing, and song form in odd time signatures and common time utilizing the Rhythmic Guide alongside the Five Steps to Musicality (this practice aid will keep the students on track and organized in their practice routine. When this process is mastered, the students will gain a new way to bring rhythmic ideas into their playing). Subdivided rhythms, grooves, fills, ensemble figures, and charts will be introduced and applied to a variety of styles (rock, funk, hip-hop, Latin, jazz, and world beat) of contemporary drumming. Upon successful completion, students will be able to display a proficient ability to interpret and read complex rhythms based in odd time and apply these rhythms to the drum set. One lecture/lab hour per week for one GUITAR // GUITAR GUIT-PL PRIVATE LESSON () A weekly individual instrument lesson that supports core curriculum goals and, time permitting, also focuses on student s personal musical development goals. An instructor guides the student in developing technique, musicianship and style. One hour per week per Twelve credit units required (two per quarter). CC-03G-CC-03G LIVE PERFORMANCE WORKSHOPS () Students perform in a variety of styles and settings (see section on Live Playing Workshops for overview of workshop offerings). Minimum requirement of ten performances per One ensemble hour per week per Six credit units required (one per quarter). GUIT-03 GUITAR PERFORMANCE 03() Students develop fundamental technical approaches to a variety of popular styles through weekly live performance. Concentration is placed on getting good lead and rhythm tones, stage etiquette, dynamics, and basic chart reading and writing. This course coordinates with Guitar Technique 0 and Guitar Reading 0 topics. Two lecture/ensemble hours per week for one GUIT-03 GUITAR PERFORMANCE 03 () Prerequisites: GUIT-3 Guitar Performance 03. This course covers fundamental technical approaches to a variety of popular styles are presented and students will perform live on a weekly basis. Emphasis will be on playing acoustic guitar in ensemble settings, use of open tunings, Travis picking, performing rhythm parts which include effects, plus introduction to styles such as reggae, punk rock, thrash metal, and classic metal. This course coordinates with Guitar Technique 0 and Guitar Reading 0 topics. Two lecture/ ensemble hours per week for one GUIT-30 GUITAR PERFORMANCE 30 () GUIT-30 GUITAR PERFORMANCE 30 () Prerequisites: GUIT-30 Guitar Performance 30. This course covers fundamental technical approaches to a variety of popular styles are presented and students will perform live on a weekly basis. Emphasis will be on advanced chart reading, stage craft, playing in various meters such as 3/, 6/8 and odd meters, plus introduction to styles such as jamband, Delta blues, urban/chicago blues, Gypsy jazz, minor blues, American Songbook, Latin, bossa nova, Big Band comping and modern jazz. This course coordinates with Guitar Technique 0 and Guitar Reading 0 topics. Two lecture/ensemble hours per week for one GUIT-0 GUITAR TECHNIQUE 0 () This course is an introduction to the basic fretting and picking techniques, the layout of the guitar fretboard, basic chords, chord progressions, and a general introduction to the most common solo and rhythm guitar approaches. One lecture hour and two lab hours per week for one GUIT-0 GUITAR TECHNIQUE 0 () Prerequisites: GUIT-0 Guitar Technique 0. General musicianship is developed through learning the five-patterns of the minor scales, applying rhythms to scales, how to structure a solo, fingerstyle technique, acquiring knowledge of chord voicings, and essential performance techniques commonly used in contemporary music. One lecture hour and two lab hours per week for one GUIT-0 GUITAR TECHNIQUE 0 () Prerequisites: GUIT-0 Guitar Technique 0. Emphasis in this course will be on scales such as Major and Minor Pentatonic, Blues, Dorian, Mixolydian, and Lydian, plus introduction to drop voicings, chord progressions, Roman numeral harmony, extended and altered chords, motive development, shuffle feel, and Blues tonalities. One lecture hour and two lab hours per week for one GUIT-0 GUITAR TECHNIQUE 0 () Prerequisites: GUIT-0 Guitar Technique 0. Emphasis in this course is placed on advanced concepts such as 6th note strum technique, scales such as Phrygian, Harmonic and Melodic minor, modal interchange and common approaches for playing over dominant chords. One lecture hour and two lab hours per week for one GUIT-0 GUITAR READING 0 () COURSES 3 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

70 COURSES COURSE DESCRIPTIONS This course introduces the fundamentals of music reading and the basic terminology used in written notation. The emphasis will be placed on how to read single-note lines in open position, key signatures and accidentals, how to navigate a basic chart, plus the chromatic note names and their position on the neck. The course will also introduce basic music topics such as motives, phrases, melodies, and form. This course coordinates with Guitar Technique 0 and Guitar Performance 03 topics. Two lecture hours per week for one GUIT-0 GUITAR READING 0 () Prerequisites: GUIT-0 Guitar Reading 0. Emphasis in this course is placed on reading in 5th position, various key centers, real-world charts, plus symbols and terms commonly found in written notation. This course coordinates with Guitar Technique 0 and Guitar Performance 03 topics. Two lecture hours per week for one GUIT-0 GUITAR READING 0 () Prerequisites: GUIT-0 Guitar Reading 0. Emphasis in this course is placed on reading in nd and 7th position, reading harmonies, duo and trio performances, and advanced real-world charts. This course coordinates with Guitar Technique 0 and Guitar Performance 30 topics. Two lecture hours per week for one GUIT-0 GUITAR READING 0 () Prerequisites: GUIT-0 Guitar Reading 0. Emphasis in this course is placed on reading in multiple positions, reading polyphonic music, trio and quartet performances and, advanced real-world charts. This course coordinates with Guitar Technique 0 and Guitar Performance 30 topics. Two lecture hours per week for one GUIT-0 GUITAR GEAR MAINTENANCE () This course will discuss how to set up, repair, maintain, intonate, customize, and manage acoustic and electric guitars. Basic amplifier maintenance, tube replacement and safety measures will also be covered, in addition to gig survival tactics as they apply to gear. One lecture hour per week for one GUIT-0 GUITAR GEAR MASTERY () Prerequisites: GUIT-0 Guitar Gear Maintenance. This course helps the student to achieve contemporary and time-honored guitar tones. This is accomplished by using combinations of effects, amp settings and amp types, and guitars. In addition, the course will cover how to implement effects into your rig, build a pro pedalboard, understand and troubleshoot signal flow, employ effects loops, run in stereo through two or more amps, play direct, record direct, and more. How to please producers by delivering the iconic guitar sounds they request and how to be a professional guitar tech will also be covered. One lecture hour per week for one AUDIO-056 DAW : REASON () This course is introduction to digital audio technology as an essential tool for the creation of instrument-based recordings. Topics covered include: working with audio and MIDI, virtual instruments, effects, drum programming, time stretching, and working with loops. One lecture hour per week for one AUDIO-56 DAW : REASON () Prerequisites: AUDIO-056 DAW : Reason. The second level of this course focuses on using Reason as a mixing and mastering tool. Topics include: EQ, Compression, effects, automation, and mastering using Reason s Channel Strip. Upon successful completion, students should be able to create, edit, mix and master their work. One lecture hour per week for one GUIT-350 ADVANCED CONCEPTS (FOR THE GUITARIST) () Prerequisites: GUIT-0 Guitar Technique 0, GUIT-30 Guitar Performance 30. This course will introduce the student to essential aspects of musicianship as needed for becoming a skilled improvising instrumentalist and a complete musician. The basic principles covered in Guitar Technique 0-0 will be applied towards larger musical goals and more advanced improvisational concepts, and the class will cover topics such as playing over changes, chromaticism, harmonic relationships and chord substitutions. Two lecture hours per week for one GUIT-50 ADVANCED CONCEPTS (FOR THE GUITARIST) () Prerequisites: GUIT-350 Advanced Musicianship Concepts (For The Guitarist). Topics to be covered include: advanced improvisational concepts, deeper harmonic understanding, and more sophisticated aspects of musicianship. Two lecture hours per week for one GUIT-360 PROJECT RECORDING : GUITAR () Prerequisites: GUIT-0 Guitar Reading 0, GUIT-0 Guitar Technique 0, GUIT-30 Guitar Performance 30. This course will introduce the student to the basic knowledge required to be able to record, engineer and produce their own music. Topics include: basic studio etiquette, signal path, creating guitar parts and tracking tactics. The student will finish -3 songs/pieces for the purposes of a demo reel for his/her website. Two lecture hours per week for one GUIT-60 PROJECT RECORDING : GUITAR () Prerequisites: GUIT-360 Project Recording : Guitar. A continuation of studio techniques and approaches, with emphasis on more advanced styles, soloing and sophisticated post-production techniques such as effects processing and editing. Two lecture hours per week for one PROFESSIONAL DEVELOPMENT // GUITAR MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS (.5) The first in a two-quarter course sequence, designed to provide students with an understanding of the entertainment industry, as it exists today, and essential knowledge for sustaining a career in the digital era. In Applied Entertainment Business, topics include an overview of industry structure, the artist s team (manager, attorney, agent, etc.), copyrights and music publishing, band partnerships and solo artists, employment agreements, work-for-hire, unions and more. One lecture hour per week for one MUBUS-060 APPLIED ENTERTAINMENT BUSINESS (.5) Prerequisites: MUSBUS-0360 Applied Entertainment Business. This course is a continuation of Applied Entertainment Business, further covering the most important areas and aspects of the entertainment industry. Topics include: record labels (major and indie), types of deals, the DIY market, distribution, touring, merchandising, and more. S.M.A.R.T. goal setting is also covered to support students in creating a path to career success. One lecture hour per week for one MUBUS-00 MEDIA RELATIONS () Students learn the difference between publicity and public relations, how to create and implement media campaigns, and how to write artist bios, press releases, news releases, and eye-catching headlines. Skills apply to independent artists as well as those aspiring to work in the industry. Two lecture hours per week for one CC-0307 VISUAL MEDIA () Students learn to use Adobe Photoshop to design original CD artwork, flyers, promotional tools, and other visual materials vital to modern independent artists. Emphasis is on creating exciting and expressive designs that directly support music marketing campaigns. Topics covered in this class include: typography, flyer design, album artwork design, image manipulation, merchandise design, and more. Two lecture hours per week for one CC-07 VISUAL MEDIA () Prerequisites: CC-307 Visual Media. The Internet has opened up an enormous opportunity for musicians to promote themselves directly to music fans. This course focuses on the technical skills needed to promote music online. Topics include: building a strong online presence, creation of a content-rich artist website, online marketing tools and strategies, video editing basics, and social media. Two lecture hours per week for one MUBUS-307 INDEPENDENT ARTIST MARKETING () This course reveals basic marketing concepts applicable to any professional business venture and focuses on the creation of a fully customized, low-budget marketing plan of attack. At a time when new technologies make it more possible than ever for artists to leverage their own careers, there has never been a greater need for practical, independent marketing advice. After identifying a business vision, students conduct research, set short-term goals, and create an integrated mix of marketing strategies to achieve their objective. Students create a complete marketing plan utilizing handy templates included in the course resource, and receive useful feedback during three one-hour lab. Two lecture hours per week for one // GUITAR CC-05 RHYTHM READING WORKOUT () This course is designed to give Performance Program students a solid foundation in reading rhythms. Students COURSE DESCRIPTIONS will focus solely on understanding rhythmic notation and subdividing basics. Topics covered include: notation basics (bar lines, time signatures) notes and rests (ranging from whole note to sixteenth note values), note value relationships, counting, triplets and syncopation. One lecture/lab hour per week for one CC-05 RHYTHM READING WORKOUT () Prerequisites: CC-05 Rhythm Reading Workout. This class is designed to give Performance Program students an understanding of intermediate rhythm concepts. Topics covered include: dotted notes, tied notes, swung eighth and sixteenth notes, advanced time signatures (cut time, 3/, 6/8) and mixed meters. One lecture/lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) This course is an introduction to the harmony and theory used within popular music. This is accomplished through the application of music notation (for pitch), major scales, key signatures, intervals, triads, and major scale harmonies. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course is a continuation of Harmony & Theory 0. This is accomplished through the further study of musical notation, diatonic structures, rhythmic values, time signatures, natural minor scales (and variations), minor key signatures, harmonized minor scales, chord inversions, diatonic seventh chords, triad analysis, chord progressions, and key centers. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents variations on diatonic structures from Harmony & Theory 0. Highlights include: pentatonic and blues scales, inverted, extended and non-standard chord types, chord symbols and modes, and voice leading and chord progressions. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents non-diatonic melodic and harmonic concepts. Highlights include: minor key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation, chromatic modulations, Roman numeral analysis, altered and symmetrical scales. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) This course is an introduction to ear training techniques, which can be used within popular music. This is accomplished through the technique of matching specific pitches, major scale melodies, and melodic intervals. Melodic and harmonic intervals, chromaticism, triads, diatonic harmony, rhythm are also studied. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC- Ear Training 0. This course is a continuation of Ear Training 0, through the further 36 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS COURSES

71 COURSES COURSE DESCRIPTIONS study of meter and rhythm, eighth-note phrases, sightsinging, transcribing melody and rhythm, melodic and harmonic intervals, triad qualities, and diatonic major chord progressions. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application- based continuation of Ear Training 0 that focuses on the recognition and transcription of pentatonic scales, simple major and minor pentatonic melodies, triplet rhythms, blues scales, natural minor scale and its variations, chord progressions utilizing inversions, diatonic minor key chord progressions, chord progressions in Roman numerals, seventh chords. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application- based continuation of Ear Training 0 that focuses on the recognition and transcription of sixteenth-note rhythmic phrases, standard variations in minor-key melody and harmony, and seventh chord major and minor diatonic harmony. One lecture hour and one lab hour per week for one CC-08 KEYBOARD PROFICIENCY () Keyboard Proficiency serves as an introduction to contemporary keyboard technique. Through the study of physical posture, finger technique, diatonic scales & chord progressions, this course will enable students to develop the necessary motor skills required for using the keyboard both as a performing instrument and compositional tool. One lecture hour and one lab hour per week for one CC-08 KEYBOARD PROFICIENCY () Prerequisites: CC-08 Keyboard Proficiency. This course further develops the technical skills required for successful keyboard performance and musical comprehension. Pop and Classical repertoire performance serves as the main focus of this course, in addition to further study of chord progressions and scales. One lecture hour and one lab hour per week for one CC-306 SONGWRITING (.5) Fundamentals of contemporary music creation, including song structure, tempo, lyrics, melody, harmony, rhythmic elements, and subjective emotional qualities. This course is equivalent to ARTST-. Two lecture/lab hours per week for one CC-06 SONGWRITING (.5) Prerequisites: CC-306 Songwriting. Continued development of contemporary songwriting skills, including application of fundamental concepts to the creation of original material based on topics and genres provided by the instructor. Includes critique and discussion. This course is equivalent to ARTST-E. Two lecture/lab hours per week for one // GUITAR Guitar students may fulfill their elective credit requirements by choosing from program-specific electives, Common Course electives, or entry-level electives offered by other programs. See current course offering for options. ENTRY-LEVEL // GUITAR GUIT-06E CLASSICAL GUITAR () This course covers the fundamental right-hand classical guitar techniques for arpeggios, scales, tremolo, harmonics, and rasgueado and apply them to classical guitar literature. One lecture hour per week for one GUIT-08E BLUES LISTENING () This course is designed to expose guitarists to the most influential players in the development of modern electric styles and techniques. Recordings by such icons as T-Bone Walker and the Three Kings (B.B., Albert and Freddie), among others, will be analyzed and their influence traced through later generations of players. One lecture hour per week for one GUIT-086E JAZZ LISTENING () A survey of jazz styles spanning classic through contemporary jazz. The works of Charlie Parker, Wes Montgomery, John Coltrane, and other jazz legends are explored using video and audio excerpts to demonstrate how they have influenced the playing of modern jazz guitar icons such as John Scofield, Pat Metheny, Allan Holdsworth, and Adam Rogers. One lecture hour per week for one GUITAR-SPECIFIC AVAILABLE ONLY TO GUITAR MAJORS GUIT-06E ALTERNATIVE GUITAR HEROES (.5) Analysis and performance of contemporary rock guitar solos, including those of Kurt Cobain, Jerry Cantrell, Tom Morello, Billy Corgan, Kim Thayil, John Frusciante, Dave Navarro, The Edge, and Lenny Kravitz. One lecture hour and one lab hour per week for one GUIT-07E GYPSY JAZZ WORKSHOP () An introduction to the basic concepts of Gypsy Jazz, based on the style of the French guitarist Django Reinhardt. Students will study and perform the basic chord voicings, chord progressions, stylistic signatures, repertoire and a general introduction to the most common solo and rhythm guitar approaches used in this style. Two workshop hours per week for one GUIT-05E GUITAR/VOCAL ACCOMPANIMENT () Students learn to accompany their own vocals on guitar with practical techniques, rhythm patterns, and exercises based on song excerpts common to styles including: pop, rock, folk, country, and alternative. One lecture hour per week for one GUIT-060E ACOUSTIC GUITAR () This course covers the basic techniques and guitar gear used in popular steel-string acoustic performance, from flatpicking to fingerpicking, strumming to plucking. One lecture hour per week for one GUIT-06E METAL GUITAR (.5) This course analyzes and examines the role of the guitar in metal s heaviest and most successful bands throughout the 80s and 90s, including Metallica, Slayer, Pantera, and Megadeth. The curriculum will break down each riff and solo, laying the groundwork for proper rock/metal technique while also providing historical perspective. One lecture hour and one lab hour per week for one quarter; each student is required to perform in class three times. GUIT-063E RUMBA WORKOUT () This course focuses on the strumming-hand rhythms of the rumba and other Latin guitar grooves to generate a rhythmguitar intensive workout experience. Recommended for any guitar student who wants to gain a new rhythmic vocabulary and break out of the alternating up/down strum approach that dominates mainstream guitar music. One lecture hour per week for one GUIT-06E SLIDE GUITAR () This course covers the fundamentals of slide guitar and its application to various styles. Topics include: achieving proper touch and good tone, essential rock and blues vocabulary, open tunings, and more. One lecture hour for one GUIT-065E SURF/SPY GUITAR () This course explores classic guitar instrumentals in the surf/ spy genre. Students learn timeless songs and riffs from artists, including the Ventures, Duane Eddy, and Dick Dale, and perform them with a rhythm section. One half-hour lecture and one-and- one-half hour lab per week for one GUIT-066E BLUES GUITAR (.5) This course covers the fundamentals of the blues style, including rhythm techniques for shuffles, slow blues, jump blues, and other blues-related rhythms, as well as such soloing concepts as chord/scale relationships, and stylistic phrasing. One hour lecture plus one lab hour per week for one GUIT-66E BLUES GUITAR (.5) Prerequisites: GUIT-0 Guitar Technique 0, GUIT-066E Blues Guitar. This course explores expanded jazz-blues harmony, soloing techniques, and the relationship between blues and other musical styles, including jazz, rock & roll, and R&B. Students gain a deeper understanding and appreciation of the blues tradition and related technical skills. One lecture hour and one lab hour per week for one GUIT-070E APPLIED METAL GUITAR (.5) This course examines influential metal bands and iconic metal guitar styles with an emphasis on harmonic analysis and applied metal techniques. Students will learn solos riff-by-riff as they develop skills that are essential to the genre. Each student is required to perform three times during the One lecture hour and one lab hour per week for one COURSE DESCRIPTIONS GUIT-088E ACID JAZZ GUITAR () This course covers the instrumental funk style of Maceo Parker, Ronny Jordan, Greyboy Allstars, Herbie Hancock, and others. Particular emphasis is placed on rhythm guitar playing, rhythmic soloing, and chart reading. Some weekly preparation work is required. Two workshop hours per week for one GUIT-70E RECORDING GUITAR () Uniting the art of guitar playing with the skills of engineering, this course is designed for guitarists who wish to learn the ins and outs of a full-size studio featuring a professional mixing console. Topics include: signal flow, microphone selection and placement, EQ, dynamic processing, and effects. Students will learn techniques used to capture and define the tone of some of the world s greatest guitar players. One lecture hour per week for one GUIT-73E GUITAR WORKOUT () This course offers a one-hour weekly training session that exposes guitarists to exercises, licks, and concepts that can be adapted and added to their personal practice routines. One lecture-workshop hour per week for one GUIT-7E PLAYING TECHNIQUES FOR GUITAR () Students learn to apply classical guitar vocabulary and techniques to the electric guitar. One lecture hour per week for one GUIT-75E GUITAR EFX () This course is an overview of the most popular guitar effect devices. Topics such as gain and tone shaping, modulation, delay, and reverb are covered through audio examples and live demonstrations. Additional topics include: building a pedalboard, guitar synthesizers, and using effects loops. One lecture hour per week for one ADVANCED // GUITAR Note: For full details, refer to the course description for each prerequisite named in your elective of interest. GUIT-05E CHORD MELODY () Prerequisites: GUIT-0 Guitar Technique. An introduction to the art of interweaving melody, chords, and bass lines into compelling song arrangements for solo guitar. Lead sheet interpretation and jazz improvisation techniques are also covered. One lecture hour per week for one GUIT-5E CHORD MELODY () Prerequisites GUIT-05E Chord Melody. The application of chord melody techniques taught in Chord Melody. Emphasis is on incorporating techniques and expanding repertoire. One lecture hour per week for one GUIT-067E JAZZ GUITAR IMPROVISATION (.5) Prerequisites: GUIT-0 Guitar Technique 0. This course covers the vocabulary used in jazz improvisation of all eras, from swing and bebop to the present, including the use of scales, modes, idioms, and typical bebop phrases. One lecture hour and one lab hour per week for one 38 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS COURSES

72 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES GUIT-67E MODERN JAZZ CONCEPTS (.5) Prerequisites: GUIT-0 Guitar Technique 0. This course explores inside and outside playing, symmetrical scales, polychords, and pentatonics as tools for jazz guitar improvisation. One lecture hour and one lab hour per week for one GUIT-068E SLAP, POP, AND BEYOND (.5) Prerequisites: GUIT-0 Guitar Technique 0. This course explores and details a variety of modern full-contact funk and rock approaches, with special emphasis on bassstyle guitar slapping and popping. Also explored are slapped harmonics, tapped harmonics, and various twohands-on-the-neck rhythm and lead techniques. Playing approaches from Van Halen, Jeff Beck, Marcus Miller, and Michael Hedges, to Rage Against the Machine, Primus, and Bumblefoot are analyzed, along with the use of guitar effects that complement full-contact styles. One lecture hour and one lab hour per week for one GUIT-085E JAZZ WORKSHOP () Prerequisites: CC-0 Harmony & Theory 0, GUIT-0 Guitar Technique 0. This course is designed for the guitarist with little or no jazz experience or the guitarist who would like to fill in the holes in his or her jazz playing. Topics include: playing through chord changes and developing a vocabulary for standard jazz progressions. This course also covers duo accompaniment techniques, such as walking bass lines with chords and bossa nova bass/chord comping styles. One lecture hour per week for one GUIT-85E JAZZ WORKSHOP () Prerequisites: GUIT-085E Jazz Workshop. This course covers an in-depth study of the modes of melodic minor and their application in jazz improvisation. Emphasis is placed on developing lines for standard jazz progressions. Also covered are practice techniques for jazz development. One lecture hour per week for one GUIT-5E GUITAR HEROES OF THE 80S (.5) Prerequisites: GUIT-0 Guitar Technique 0. Students will analyze and perform the solos of modern rock players, such as Eddie Van Halen, Steve Vai, Randy Rhoads, Nuno Bettencourt, John Petrucci, Marty Friedman, and Yngwie Malmsteen as a way of improving rock soloing skills. One lecture hour and one lab hour per week for one GUIT-50E GUITAR TRACKING TACTICS () Prerequisites: GUIT-0 Guitar Technique 0. In weekly one- on-one recording sessions with a professional guitarist/ instructor, students gain studio performance skills mandatory for the modern session guitarist. Techniques range from dialing in appropriate tones, effective vibrato and bends, and playing in-the-pocket to using capos, slides, EBows, timed delays, pre- and post-input effects, open tunings, and other creative devices and applications. Students complete a multi-song demo recording under the guidance of a guitar instructor-producer, creating and recording rhythm patterns, fills, melodies, and solos over prerecorded rhythm tracks. One private session hour per week for one GUIT-53E JIMI HENDRIX RHYTHM GUITAR () Prerequisites: GUIT-0 Guitar Technique 0. This course will cover how to improvise rhythm parts in the style of Little Wing, Bold as Love, and Castles Made of Sand. Students will develop major and minor pentatonic doublestop vocabulary and learn to adapt Hendrix-style rhythm fills to fit popular progressions or original songs. Techniques include: thumb-fretting, the Hendrix Chord, chord ornamentation, and funk-rock rhythms. One lecture hour per week for one GUIT-5E BEATLES FOR SOLO GUITAR () Prerequisites: GUIT-0 Guitar Technique 0. The Beatles are the most successful pop songwriters of all time and their music remains popular with every new generation. Learning solo guitar chord-melody arrangements of The Beatles songs provides a deeper understanding of effective songwriting as well as an introduction to chordmelody technique. One lecture hour per week for one GUIT-55E THE ART OF TWO-LINE IMPROVISATION PART () Prerequisites: GUIT-0 Guitar Technique 0. This course was developed by contrapuntal jazz pioneer and longtime MI Instructor, Jimmy Wyble., and provides stepby-step development of the harmonic awareness, right- and left-hand techniques, and intervallic designs necessary for contrapuntal improvisation. Emphasis is placed on development of intervals, chord structures, vocabulary, and phrases that exemplify two-line artistry. One lecture hour and one lab hour per week for one GUIT-56E MELODIC SOLOING () Prerequisites: GUIT-0 Guitar Technique 0. Students will learn how to solo over basic-to-complex chord progressions with an emphasis on the elements of melodic playing including chord tones, phrasing, sound, and technique. Additional topics include: rhythm section accompaniment and critiqued performances. One lecture- workshop hour per week for one GUIT-57E FUSION MASTERS (.5) Prerequisites: GUIT-0 Guitar Technique 0, GUIT-0 Guitar Reading 0. This course covers intermediate- toadvanced topics in fusion performance and their application to the guitar, including chord voicings, re-harmonization, transcription, and improvising over changes. One lecture hour and one lab hour per week for one GUIT-58E ADVANCED ELECTRIC GUITAR STYLES (.5) Prerequisites: GUIT-0 Guitar Technique 0. Students will learn how to make the leap into becoming a professional guitarist through a comprehensive study of the interplay between the picking and strumming hands as it pertains to great tone, sterling melodic, execution, accurate string muting, and punchy rhythm playing. Additional topics include: three-octave major and minor scales, chord-tone and approach-note improvisation, use of pentatonic, synthetic, and other scales. Practical ear training is also explored and students perform with a rhythm section every week. One lecture hour and one lab hour per week for one GUIT-59E ADVANCED GROOVE CONCEPTS (.5) Prerequisites: GUIT-0 Guitar Technique 0. This course covers both technical and practical approaches to groovebased styles. Techniques of time discipline, odd-meter studies, and playing over shifts in feel and meter will be explored. Stylistic studies include early R&B, Motown, reggae, contemporary African styles and New Orleans grooves. One lecture hour and one lab hour per week for one GUIT-60E AFRO-CUBAN GUITAR () Prerequisites: GUIT-0 Guitar Technique 0. This course is an introduction to the role of the guitar in the Afro-Cuban rhythm section. Students will learn how to create authenticsounding parts. One lecture hour per week for one GUIT-6E BRAZILIAN GUITAR () Prerequisites: GUIT-0 Guitar Technique 0. This course is an introduction to the role of the guitar in the Brazilian rhythm section, including bossa nova and samba. Students will learn how to create authentic-sounding parts. One lecture hour per week for one GUIT-6E COUNTRY GUITAR (.5) Prerequisites: GUIT-0 Guitar Technique 0. Students will learn typical progressions involving rhythm guitar and soloing techniques applicable to contemporary country music. This course begins with the essentials and moves into specialized techniques, including banjo rolls, open-string licks, and pedal steel effects. One lecture hour and one lab hour per week for one GUIT-63E ECLECTIC ELECTRIC GUITAR (.5) Prerequisites: GUIT-0 Guitar Technique 0. Students learn how to play lines and solos in the style of Larry Carlton, Robben Ford, Lee Ritenour, and others. One lecture hour and one lab hour per week for one GUIT-6E FUNK GUITAR (.5) Prerequisites: GUIT-0 Guitar Technique 0. Students will learn the essential techniques of funk rhythm guitar from fundamental to advanced, as well as tools to improve overall rhythm skills. The curriculum is based on traditional and contemporary funk, inspired by artists such as James Brown, Earth, Wind & Fire, Prince, the Red Hot Chili Peppers, Michael Jackson, Maroon 5, and beyond. One lecture hour and one lab hour per week for one GUIT-65E SHRED GUITAR () Prerequisites: GUIT-0 Guitar Technique 0. This course focuses on improvisation with advanced shred concepts and techniques, including speed picking, sweep picking, tapping, string skipping, as well as applying three- and four-noteper-string scale patterns. One lecture hour per week for one GUIT-68E ROCK RHYTHM GUITAR (.5) Prerequisites: GUIT-0 Guitar Technique 0. This course covers the application of chord and riff techniques integral to contemporary rock styles. Students will learn specific contemporary examples from various rock subgenres. One lecture hour and one lab hour per week for one GUIT-69E ROCK LEAD GUITAR () Prerequisites: GUIT-0 Guitar Technique 0. This course covers the melodic application of techniques and concepts taught in core coures to rock guitar styles. Topics include: hammer-ons, pull-offs, string bending, two-handed fretting techniques, and other stylistic nuances of rock soloing. One lecture hour per week for one GUIT-7E APPLIED TECHNIQUE () Prerequisites: GUIT-0 Guitar Technique 0. This course is designed to increase playing speed through chord changes over the entire fretboard, and combine all the techniques learned in Guitar Technique courses. One lecture hour per week for one This course may be repeated for credit. GUIT-80E CLASSIC ROCK READING ENSEMBLE () Prerequisites: GUIT-0 Guitar Reading 0. This course covers an in-depth development of small (- and 5-part) electric guitar ensemble reading skills based on pop music repertoire. Students refine and enhance all aspects of their musicianship in the context of rehearsal and performance. Some sight-reading involved. One ensemble hour per week for one GUIT-8E CLASSICAL GUITAR READING ENSEMBLE () Prerequisites: GUIT-0 Guitar Reading 0. This course covers an In-depth development of small (four- and five-part) electric guitar ensemble performance skills based on guitar reading curriculum. Students refine and enhance all aspects of their musicianship in the context of guitar ensemble rehearsal and performance. Some sight-reading involved. One lecture- ensemble hour per week for one GUIT-8E ODD-METER WORKOUT () Prerequisites: GUIT-0 Guitar Technique 0. This course incorporates many genres of contemporary music. This weekly workout course focuses on counting, playing, riffing, soloing, grooving, and playing over changes in odd meters all skills that are crucial for anyone interested in metal, jazz, fusion, progressive, or shred. One lecture hour per week for one GUIT-87E JAZZ GUITAR READING ENSEMBLE () Prerequisites: GUIT-0 Guitar Reading 0. This course covers an in-depth development of small (- and 5-part) electric guitar ensemble reading skills based on jazz repertoire. Students refine and enhance all aspects of their musicianship in the context of rehearsal and performance. Some sight-reading involved. One ensemble hour per week for one GUIT-88E ACID JAZZ GUITAR () Prerequisites: GUIT-088E Acid Jazz Guitar. Some weekly preparation work is required. Students will be given charts and a CD to prepare for the course. Two workshop hours per week for one COURSES 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

73 COURSES COURSE DESCRIPTIONS GUIT-55E The ART OF TWO-LINE (.5) Prerequisites: GUIT-55E The Art of Two-Line Improvisation Part. The etudes from Jimmy Wyble s seminal books are vehicles for solo guitar pieces as well as lessons in contrapuntal techniques, and serve as a bridge between classical guitar technique and jazz harmony. This course intends to examine the harmonic material found in several of the etudes, and by isolating some of the moves and transposing them to different keys, the material will be made applicable to students own arrangements and improvisations. One lecture hour and one lab hour per week for one KEYBOARD TECHNOLOGY // KEYBOARD TECHNOLOGY KEYBD-PL PRIVATE LESSON () A weekly individual instrument lesson that supports core curriculum goals. An instructor guides the student in developing technique, musicianship and style. Twelve credit units required (two per quarter). CC-03K-CC-03K LIVE PERFORMANCE WORKSHOPS () Students perform in a variety of styles and settings (see section on Live Playing Workshops for overview of workshop offerings). Minimum requirement of ten performances per One ensemble hour per week per Six credit units required (one per quarter). KEYBD-03 KEYBOARD PERFORMANCE 03 () A performance course that utilizes both technical and popular music approaches. Concentration is placed on listening, dynamics, awareness of song form, and basic chart reading. This course coordinates with Keyboard Technique 0 and Keyboard Reading 0 topics. Two lecture/ensemble hours per week for one KEYBD-03 KEYBOARD PERFORMANCE 03 () Prerequisites: KEYBD-03 Keyboard Performance 03. A performance course that utilizes both technical and popular music approaches. Intermediate-level chart reading also aids in the further development of giving and following cues, keyboard patch programming, and stylistic improvisation. This course coordinates with Keyboard Technique 0 and Keyboard Reading 0 topics. Two lecture/ensemble hours per week for one KEYBD-30 KEYBOARD PERFORMANCE 30 () Prerequisites: KEYBD-03 Keyboard Performance 03. A performance course that utilizes both technical and popular music approaches, with an emphasis on atypical song forms, stylistic embellishments, volume swells, use of the modulation wheel, keyboard splits and sonic layering. Each topic is applied to a particular groove, comping pattern and musical form. Leadership within a group is also discussed. This course coordinates with Keyboard Technique 0 and Keyboard Reading 0 topics. Two lecture/ensemble hours per week for one KEYBD-30 KEYBOARD PERFORMANCE 30 () Prerequisites: KEYBD-30 Keyboard Performance 30. A performance- based course that utilizes practical techniques and advanced concepts, such as dual keyboard playing, multiple keyboard splits, key transposition and detailed improvisation. Each topic is applied to a particular groove, style and song form. Further leadership within a group is also discussed. This course coordinates with Keyboard Technique 0 and Keyboard Reading 0 topics. Two lecture/ensemble hours per week for one KEYBD-0 KEYBOARD TECHNIQUE 0 () This course serves as an introduction to contemporary keyboard technique. Weekly group study centers on the development and subsequent mastery of the performance skills necessary for becoming a successful keyboardist. Students will gain a thorough understanding of both the mental and physical components that contribute to proper technique. Subsequent curricular topics include: performance posture, warm-up/practice routine development, major & melodic minor scale performance & memorization, finger dexterity, interval & triad construction based on the major scale, as well as chord progressions, complete with preferred voicings. Two lecture hours per week for one KEYBD-0 KEYBOARD TECHNIQUE 0 () Prerequisites: KEYBD-0 Keyboard Technique 0. This course serves as a continuation of Keyboard Technique 0. Weekly group study centers on the development and subsequent mastery of the performance skills necessary for becoming a successful keyboardist. Students will gain a thorough understanding of both the mental and physical components that contribute to proper technique. Subsequent curricular topics include: harmonic & natural minor scales, diatonic & chromatic interval alterations, triad construction based on minor scales (major, minor, diminished & augmented), first & second inversion triads, rootposition seventh chords, triad-based arpeggios and modal interchange using the I-IV-V-I, I-VI-II-V-I & I-VI- iv-iidim-vviidim-i progressions, complete with preferred voicings. Two lecture hours per week for one KEYBD-0 KEYBOARD TECHNIQUE 0 () Prerequisites: KEYBD-0 Keyboard Technique 0. Weekly group study centers on the development and subsequent mastery of the performance skills necessary for becoming a successful keyboardist. Students will gain a thorough understanding of both the mental and physical components that contribute to proper technique. Subsequent curricular topics include: pentatonic & blues scales, the Mixolydian & Dorian modes, chromatic interval-based extensions, first, second & third inversion seventh chords, ii7-v7-ima7, iimi7(b5)-v7-ima7/i7 progressions, major & dominant cycles, add9 & sus chords and seventh chord-based arpeggios. Two lecture hours per week for one KEYBD-0 KEYBOARD TECHNIQUE 0 () Prerequisites: KEYBD-0 Keyboard Technique 0. Weekly group study centers on the development and subsequent mastery of the performance skills necessary for becoming a successful keyboardist. Students will gain a thorough understanding of both the mental and physical components that contribute to proper technique. Subsequent curricular topics include: Locrian & Lydian modes, altered scales, ii7-v7-ima7 & iimi7(b5)-v7- Ima7/i7 progressions utilizing chromatic extensions & tri-tone substitutions and lead-sheet interpretation, complete with three & four-note voicings. Two lecture hours per week for one KEYBD-0 KEYBOARD READING 0 () Students learn basic single-line note reading, symbols for notating melody, rhythm and harmony. Highlights include: Clefs, Grand Staff, Ledger Lines, Key Signatures, fingering, and song forms. This course coordinates with Keyboard Technique 0 and Keyboard Performance 03 topics. Two lecture hours per week for one KEYBD-0 KEYBOARD READING 0 () Prerequisites: KEYBD-0 Keyboard Reading 0. Topics include: time signature studies, note-value relationships, counting and subdivision exercises as applied to particular grooves, articulations and ornaments, syncopated rhythms, chart reading, part independence, comping patterns and musical forms. This course coordinates with Keyboard Technique 0 and Keyboard Performance 03 topics. Two lecture hours per week for one KEYBD-0 KEYBOARD READING 0 () Prerequisites: KEYBD-0 Keyboard Reading 0. Topics include: interpreting rhythmic, harmonic and melodic patterns within a particular groove, and song form. This course coordinates with Keyboard Technique 0 and Keyboard Performance 30 topics. Two lecture hours per week for one KEYBD-0 KEYBOARD READING 0 () Prerequisites: KEYBD-0 Keyboard Reading 0. Topics include: reading compound time signatures, meter changes, harmonic and melodic patterns within a particular groove, keyboard patch, and song form. This course coordinates with Keyboard Technique 0 and Keyboard Performance 30 topics. Two lecture hours per week for one KEYBD-0 KEYBOARD GEAR MASTERY () This course is an introduction to the basic functions and controls of popular hardware electric keyboards. This is accomplished through in-class application of basic programming techniques such as, patch selection, layering, splitting and transposition. Students will also learn how to use the pitch bend wheel, modulation wheel, change octaves and set up a keyboard rig. One lecture/lab hour per week for one AUDIO-056 DAW : REASON () This course is an introduction to digital audio technology as an essential tool for the creation of instrument-based recordings. Topics covered include: working with audio and MIDI, virtual instruments, effects, drum programming, time stretching, and working with loops. One lecture hour per week for one AUDIO-56 DAW : REASON () COURSE DESCRIPTIONS Prerequisites: AUDIO-056 DAW : Reason. The second level of this course focuses on using Reason as a mixing and mastering tool. Topics include: EQ, compression, effects, automation, and mastering using Reason s Channel Strip. Upon successful completion, students should be able to create, edit, mix and master their work. One lecture hour per week for one KEYBD-350 COMMERCIAL COMPOSITION () Prerequisites: DAW. This course is an introduction to composing musical background scores, in order to enhance the emotional qualities of video images. This course includes both the creative and technical aspects of scoring for commercials, T.V. and film. One lecture hour and one lab hour per week for one KEYBD-50 COMMERCIAL COMPOSITION () Prerequisites: KEYBD-350 Commercial Composition. This intermediate level course delves deeper into the popular compositional and music production devices used in TV, film and video music creation. Topics include: combining live instruments with software, editing MIDI instruments for a more realistic sound, mixing and basic mastering. One lecture hour and one lab hour per week for one KEYBD-360 PROJECT RECORDING : KEYBOARDS () Prerequisites: KEYBD-0 Keyboard Reading 0, KEYBD-0 Keyboard Technique 0, KEYBD-30 Keyboard Performance 30. Students will begin planning and creating their final keyboard recording project, including two or more original songs. Digital recording, home studios, writing and arranging, programming MIDI and some business discussions are all covered. Initial assignments include producing song demos and creating a production schedule. Two lecture hours per week for one KEYBD-60 PROJECT RECORDING : KEYBOARDS () Prerequisites: KEYBD-360 Project Recording : Keyboards. Students will complete and submit all elements of their final project, including final mixes, to the faculty panel for review and evaluation. Have a basic understanding of analog signal flow and how it translates to the digital domain. Understand what s involved in a live studio session including creating charts and how to stay organized and efficient. Understand and identify different Microphone types and recording techniques. Understand the concept of signal processing and basic mixing and mastering methods. KEYBD-50 SYNTHESIS AND SAMPLING () This course covers the history of synthesizers, fundamentals of subtractive synthesis, sampling techniques and their application using Apple Logic software. Includes practical application of theory using the ES-, ES- and Sculpture synthesizers as well as the EXS- sampler and Apple Loops utility. One lecture hour per week for one KEYBD-0 DIGITAL MUSIC () This course is an introduction to digital audio technology as an essential tool for the creation of computer-based recordings. Students learn intuitive set-up procedures and use of controllers and DAWs. THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS COURSES

74 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES KEYBD-0 DIGITAL MUSIC () Prerequisite: KEYBD-0 Digital Music. Building from the foundation set in Digital Music, this class continues with the development of using digital audio technology as a tool for creating computer-based recordings. KEYBD-30 DIGITAL MUSIC 3 () Prerequisite: KEYBD-0 Digital Music. This course is the study and application of mixing techniques with emphasis on audio processing using effects plug-ins. Prerequisite: KEYBD-0 Digital Music. KEYBD-330 PRODUCER PROJECT () Prerequisite: KEYBD-0 Digital Music. In this class, students will work collaboratively in teams to produce original material for a client played by the instructor. Students will be required to produce a number of drafts and revisions of the project to meet the requirements of the client. KEYBD-30 PRODUCER PROJECT () A continuation of Producer Project. Students will work collaboratively in teams to produce original material for a client played by the instructor. Students will be required to produce a number of drafts and revisions of the project to meet the requirements of the client. PROFESSIONAL DEVELOPMENT // KEYBOARD TECHNOLOGY MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS (.5) The first in a two-quarter course sequence, designed to provide students with an understanding of the entertainment industry, as it exists today, and essential knowledge for sustaining a career in the digital era. In Applied Entertainment Business, topics include an overview of industry structure, the artist s team (manager, attorney, agent, etc.), copyrights and music publishing, band partnerships and solo artists, employment agreements, work-for-hire, unions and more. One lecture hour per week for one MUBUS-060 APPLIED ENTERTAINMENT BUSINESS (.5) Prerequisites: MUSBUS-0360 Applied Entertainment Business. This course is a continuation of Applied Entertainment Business, further covering the most important areas and aspects of the entertainment industry. Topics include: record labels (major and indie), types of deals, the DIY market, distribution, touring, merchandising, and more. S.M.A.R.T. goal setting is also covered to support students in creating a path to career success. One lecture hour per week for one MUBUS-00 MEDIA RELATIONS () Students learn the difference between publicity and public relations, how to create and implement media campaigns, and how to write artist bios, press releases, news releases, and eye-catching headlines. Skills apply to independent artists as well as those aspiring to work in the industry. Two lecture hours per week for one CC-0307 VISUAL MEDIA () Students learn to use Adobe Photoshop to design original CD artwork, flyers, promotional tools, and other visual materials vital to modern independent artists. Emphasis is on creating exciting and expressive designs that directly support music marketing campaigns. Topics covered in this class include: typography, flyer design, album artwork design, image manipulation, merchandise design, and more. Two lecture hours per week for one CC-07 VISUAL MEDIA () Prerequisites: CC-307 Visual Media. The Internet has opened up an enormous opportunity for musicians to promote themselves directly to music fans. This course focuses on the technical skills needed to promote music online. Topics include: building a strong online presence, creation of a content-rich artist website, online marketing tools and strategies, video editing basics, and social media. Two lecture hours per week for one MUBUS-307 INDEPENDENT ARTIST MARKETING () This course reveals basic marketing concepts applicable to any professional business venture and focuses on the creation of a fully customized, low-budget marketing plan of attack. At a time when new technologies make it more possible than ever for artists to leverage their own careers, there has never been a greater need for practical, independent marketing advice. After identifying a business vision, students conduct research, set short-term goals, and create an integrated mix of marketing strategies to achieve their objective. Students create a complete marketing plan utilizing handy templates included in the course resource, and receive useful feedback during three one-hour lab. Two lecture hours per week for one // KEYBOARD TECHNOLOGY CC-05 RHYTHM READING WORKOUT () This course is designed to give Performance Program students a solid foundation in reading rhythms. Students will focus solely on understanding rhythmic notation and subdividing basics. Topics covered include: notation basics (bar lines, time signatures) notes and rests (ranging from whole note to sixteenth note values), note value relationships, counting, triplets and syncopation. One lecture/lab hour per week for one CC-05 RHYTHM READING WORKOUT () Prerequisites: CC-05 Rhythm Reading Workout. This class is designed to give Performance Program students an understanding of intermediate rhythm concepts. Topics covered include: dotted notes, tied notes, swung eighth and sixteenth notes, advanced time signatures (cut time, 3/, 6/8) and mixed meters. One lecture/lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) This course is an introduction to the harmony and theory used within popular music. This is accomplished through the application of music notation (for pitch), major scales, key signatures, intervals, triads, and major scale harmonies. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course is a continuation of Harmony & Theory 0. This is accomplished through the further study of musical notation, diatonic structures, rhythmic values, time signatures, natural minor scales (and variations), minor key signatures, harmonized minor scales, chord inversions, diatonic seventh chords, triad analysis, chord progressions, and key centers. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents variations on diatonic structures from Harmony & Theory 0. Highlights include: pentatonic and blues scales, inverted, extended and non-standard chord types, chord symbols and modes, and voice leading and chord progressions. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents non-diatonic melodic and harmonic concepts. Highlights include: minor key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation, chromatic modulations, Roman numeral analysis, altered and symmetrical scales. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) This course is an introduction to ear training techniques, which can be used within popular music. This is accomplished through the technique of matching specific pitches, major scale melodies, and melodic intervals. Melodic and harmonic intervals, chromaticism, triads, diatonic harmony, rhythm are also studied. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC- Ear Training 0. This course is a continuation of Ear Training 0, through the further study of meter and rhythm, eighth-note phrases, sightsinging, transcribing melody and rhythm, melodic and harmonic intervals, triad qualities, and diatonic major chord progressions. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application- based continuation of Ear Training 0 that focuses on the recognition and transcription of pentatonic scales, simple major and minor pentatonic melodies, triplet rhythms, blues scales, natural minor scale and its variations, chord progressions utilizing inversions, diatonic minor key chord progressions, chord progressions in Roman numerals, seventh chords. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application- based continuation of Ear Training 0 that focuses on the recognition and transcription of sixteenthnote rhythmic phrases, standard variations in minor-key melody and harmony, and seventh chord major and minor diatonic harmony. One lecture hour and one lab hour per week for one CC-306 SONGWRITING (.5) Fundamentals of contemporary music creation, including song structure, tempo, lyrics, melody, harmony, rhythmic elements, and subjective emotional qualities. This course is equivalent to ARTST-. Two lecture/lab hours per week for one CC-06 SONGWRITING (.5) Prerequisites: CC-306 Songwriting. Continued development of contemporary songwriting skills, including application of fundamental concepts to the creation of original material based on topics and genres provided by the instructor. Includes critique and discussion. This course is equivalent to ARTST-E. Two lecture/lab hours per week for one // KEYBOARD TECHNOLOGY Keyboard students may fulfill their elective credit requirements by choosing from program-specific electives, Common Course electives, or entry-level electives offered by other programs; see course offerings for options. KEYBOARD-SPECIFIC AVAILABLE ONLY TO KEYBOARD MAJORS KEYBD-05E JAZZ KEYBOARDS () Prerequisites: KEYBD-0 Keyboard Technique 0. This course covers the development of professional concepts and techniques for jazz improvisation, including handling rapid chord and key changes, analyzing chord/scale relationships, and developing stylistic rhythm patterns and phrasing. Includes analysis of major jazz artists and their approaches. One lecture hour per week for one KEYBD-08E KEYBOARD VOICING () Prerequisite: KEYBD-0 Keyboard Technique 0. Students will study and utilize Keyboard chord voicings and progressions from simple triads to complicated 7th chords. This course will complete current Keyboard technique curriculum and support Keyboard performance series. Students will be able to practice all triads with cycle of th and voice leading of each triads. Students will apply triads voicing to Rootless voicings of 7th chords. One lecture hour per week for one COURSES THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

75 COURSES COURSE DESCRIPTIONS KEYBD-50E ADVANCED ABLETON LIVE WORKSHOP () Prerequisites: KEYBD-50E Ableton Live Workshop. Students will learn advanced applications for Ableton Live. Students will focus on gaining a deeper understanding of Ableton s software synths, controller mapping, MIDI implementation, mix setup, and audio warping. Students will also learn the techniques used to create custom live performance and touring setups using Ableton. One lecture hour per week for one KEYBD-5E KEYBOARD DUET ENSEMBLE () Prerequisite: CC-0 Harmony & Theory 0 and KEYBD-0 Keyboard Technique 0. This course focuses on real-world skills and requirements for a professional performing keyboard player-including musicianship, critical listening, pianistic approach, comping, and improvisation. Students perform with other keyboard player(s) in a duet structure throughout the Upon successful completion of the course, students will have advanced capacities in groove, comping style, musicianship, stylistic improvisation, and collaborative performance. One ensemble hour per week for one KEYBD-5E AFRO-CUBAN KEYBOARDS () Prerequisites: KEYBD-0 Keyboard Technique 0. Students will learn techniques and repertoire used in Afro- Cuban music with an emphasis on stylistic rhythms and melodic patterns. One lecture hour per week for one KEYBD-5E BRAZILIAN KEYBOARDS () Prerequisites: KEYBD-0 Keyboard Technique 0. Students will learn the techniques and repertoire used in Brazilian music with an emphasis on stylistic rhythms and melodic patterns. One lecture hour per week for one KEYBD-5E JAZZ KEYBOARDS () Prerequisites: KEYBD-05E Jazz Keyboards. This course covers the advanced study of jazz improvisation, chord and key changes, chord- scale relationships, rhythmic patterns, and phrasing. One lecture hour per week for one KEYBD-56E COMPOSITION FOR KEYBOARDS () Prerequisites: KEYBD-0 Keyboard Technique 0. Students will learn how to compose melodies based on simple chord progressions in a variety of styles through the analysis of Top 0 tunes and widely used diatonic chord progressions. One lecture hour per week for one KEYBD-60E KEYBOARD MASTERY () Prerequisites: Program Chair Approval. This course covers the advanced study of contemporary jazz keyboard techniques with famed Yellowjackets keyboardist Russell Ferrante and special guests. Five lecture hours per quarter for one This course may be repeated for credit. ENTRY-LEVEL AVAILABLE TO NON- KEYBOARD MAJORS KEYBD-06E ROLAND GAIA SYNTH PROGRAMMING () This course covers programming techniques for Roland Gaia synthesizers. Topics include: oscillators, waveforms, envelopes, filters, effects, real-time parameter changes, and more. One lecture hour per week for one KEYBD-070E ACCOMPANY THYSELF () This course is designed for singer/keyboard players who want to learn performing skills and keyboard arranging techniques in order to improve the quality of their selfaccompaniment. One lecture hour per week for one May be repeated for credit. KEYBD-07E BLUES KEYBOARDS () This course focuses on technique, groove, scales, and progressions used in authentic blues and R&B playing. This course will trace the evolution of the blues through recordings and transcribed solos. One lecture hour per week for one KEYBD-073E FUNK KEYBOARDS () This course covers the analysis of contemporary funk players with an emphasis on understanding the subtle differences in their approach to groove playing. Students will learn twohanded rhythm parts, which is common to most funk music. One lecture hour per week for one KEYBD-07E HIP-HOP KEYBOARDS () This course covers the technical, stylistic and historic look at hip-hop from the keyboard perspective. Students analyze influential artists and styles, learn to compose genre-specific grooves and melodic phrases, and use synthesizers and samplers to create classic and contemporary sounds. Indepth, hands-on instruction provides students with a genuine hip-hop experience. One lecture hour per week for one KEYBD-077E R&B/SOUL KEYBOARDS () Students will learn how to develop grooves, rhythms, and harmonic structure of R&B/ soul keyboard arrangements from the classic era of the 60s and 70s. This course also covers chord voicings, techniques, independence drills, and sounds associated with the styles of masters such as Richard Tee, Billy Preston, Earl Van Dyke, and others. One lecture hour per week for one KEYBD-078E ROCK KEYBOARDS () Students will learn classic and modern rock keyboard techniques as applied to performance repertoire. One lecture hour per week for one KEYBD-079E ROLAND FANTOM WORKSTATION WORKSHOP () This course covers advanced instruction on Roland s Fantom workstations, including sequencing, sampling, recording, and live performance functionality. One lecture hour per week for one KEYBD-50E ABLETON LIVE WORKSHOP () Students learn how to use Ableton Live software as a tool for creating, producing and performing music. Students will be shown how to create a live set, record and manipulate audio, edit and record MIDI, use softsynths and plug-ins, and how to incorporate it all into spontaneous live performances. One lecture hour per week for one COURSE DESCRIPTIONS 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS VOCAL // VOCAL VOCAL-PL PRIVATE LESSON () A weekly individual instrument lesson that supports core curriculum goals. An instructor guides the student in developing technique, musicianship and style. Twelve credit units required (two per quarter). CC-03V-CC-03V LIVE PERFORMANCE WORKSHOPS () Students perform in a variety of styles and settings (see section on Live Playing Workshops for overview of workshop offerings). Minimum requirement of ten performances per One ensemble hour per week per Six credit units required (one per quarter). VOCAL-03 VOCAL PERFORMANCE 03 () Students develop fundamental technical approaches to vocal performance via twice-weekly performances in a number of popular genres with a live, three-piece backing band, assisted by extensive curricular materials, including performance notes, vocal charts, and reference audio. Two ensemble hours per week for one VOCAL-03 VOCAL PERFORMANCE 03 () Prerequisites: VOCAL-03 Vocal Performance 03. Continued live-ensemble performing experience, featuring progressively more complex material and additional musical genres. Two ensemble hours per week for one VOCAL-30 VOCAL PERFORMANCE 30 () Prerequisites: VOCAL-03 Vocal Performance 03. Additional live ensemble performing experience featuring progressively more complex material, additional musical genres and the ability for students to perform their own material at set points within the course. Two ensemble hours per week for one VOCAL-30 VOCAL PERFORMANCE 30 () Prerequisites: VOCAL-30 Vocal Performance 30. Additional live ensemble performing experience featuring progressively more complex material, additional musical genres, and the ability for students to perform their own material at set points within the course. Two ensemble hours per week for one VOCAL-0 VOCAL TECHNIQUE 0 () This course is an introduction to the anatomy, the physiology and production of the voice. Topics include: vocal physiological terminologies, breathing techniques, breath management and its impact, effective practice habits, registers and efficient phonation techniques. Two lecture/ lab hours per week for one VOCAL-0 VOCAL TECHNIQUE 0 () Prerequisites: VOCAL-0 Vocal Technique 0. This course focuses on understanding the nature of vocal production. Topics include: assessing and increasing vocal range, study of the Passaggio (the break), expansion of listening techniques, formation of speech sounds, vowel placement, exploration of resonance, vibrato, agility, ad-libbing, tonal colors, singing in harmony, endurance and factors that affect vocal health. Two lecture/lab hours per week for one VOCAL-0 VOCAL TECHNIQUE 0 () Prerequisites: VOCAL-0 Vocal Technique 0. Topics include: The International Phonetic Alphabet (IPA) will be introduced, the American Standard Pronunciation will be discussed, addresses the formation and placement of vowels and consonants, diphthongs and triphthongs with exercises and resources to improve diction, exploring your speaking range. Two lecture/lab hours per week for one VOCAL-0 VOCAL TECHNIQUE 0 () Prerequisites: VOCAL-0 Vocal Technique 0. This course continues the development and execution of melodic ornamentation (vocabulary embellishment, improvisation, inflection) through the study of jazz, gospel, soul, R&B and pop vocal performance techniques. Therefore, these genres harmonic subtleties and melodic vocabulary will be presented in great detail. Two lecture/lab hours per week for one VOCAL-0 SIGHTSINGING 0 () This course is an introduction to sight-reading and sightsinging for the vocalist. Topics include: an overview of music notation, the basic elements of written music, major scales, intervals, ties, dotted notes, warm-ups, simple diatonic melodies with whole, half, quarter, eighth, and sixteenth-note rhythmic patterns. Two lecture/lab hours per week for one VOCAL-0 SIGHTSINGING 0 () Prerequisites: VOCAL-0 Sightsinging 0. Continued development of sightsinging skills with emphasis on combining notes and values, an introduction to the bass clef, triplet rhythms, cadences and 6/8 time signature. Two lecture/lab hours per week for one VOCAL-0 SIGHTSINGING 0 () Prerequisites: VOCAL-0 Sightsinging 0. This course expands sightsinging skills to include the introduction of major and minor diatonic melodies, mixed rhythms and complex harmonies. Topics include: intervals, major and minor triad inversions, minor scales, modes, extended chords, and minor key chord progressions. Two lecture/lab hours per week for one VOCAL-0 SIGHTSINGING 0 () Prerequisites: VOCAL-0 Sighsinging 0. This course includes: tension/resolution and chord/scale relationships, review of the modes, eighth note grooves, introduction to swing, jazz transcription, advanced blues reading, and COURSES

76 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES advanced two-part reading. Two lecture/lab hours per week for one VOCAL-0 STYLES SURVEY () This course provides students with an analytical overview of styles, chart reading and critical listening as they relate to repertoire requirements. Styles covered include: rock, rhythm & blues, jazz, and Latin. One lecture hour per week for one VOCAL-0 STYLES SURVEY () Prerequisites: VOCAL-0 Styles Survey. This course is a continuation of style exploration through chart reading and critical listening as they relate to advanced repertoire. Styles covered include: rock, rhythm & blues, jazz, and Latin. One lecture hour per week for one AUDIO-056 DAW : REASON () This course is an introduction to digital audio technology as an essential tool for the creation of instrument-based recordings. Topics covered include: working with audio and MIDI, virtual instruments, effects, drum programming, time stretching, and working with loops. One lecture hour per week for one AUDIO-56 DAW : REASON () Prerequisites: AUDIO-056 DAW : Reason. The second level of this course focuses on using Reason as a mixing and mastering tool. Topics include: EQ, compression, effects, automation, mastering using Reason s Channel Strip. Upon successful completion, students should be able to create, edit, mix and master their work. One lecture hour per week for one VOCAL-350 CONTEMPORARY VOCAL ENSEMBLE () Students will learn the essentials of backing vocals with an emphasis on blending, singing unison, counterpoint, mic techniques, and sightsinging while in a small or large group and as individuals. Two ensemble hours per week for one This course may be repeated for credit. VOCAL-50 ADVANCED CONTEMPORARY VOCAL ENSEMBLE () Prerequisites: VOCAL-350 Contemporary Vocal Ensemble. This course covers backing vocals for advanced students. Topics include: containing intricate vocals, jazz harmonies, cluster chords, plus -part and 6-part harmony song structures, along with soloing and backup singing within the same song. VOCAL-360 PROJECT RECORDING : VOCAL () Prerequisites: VOCAL-0 Sightsinging 0, VOCAL-0 Vocal Technique 0, VOCAL-30 Vocal Performance 30. Students will learn the art and practical skills of creating their own professional-quality, three-song vocal reel in the recording studio using industry-standard audio equipment. Topics include: pre-production, microphone techniques, equipment choice, essential recording studio terminology, pre- amplification, EQ and effects for lead vocals, as well as other equipment and techniques essential to creating and capturing the best vocal performance. Two lecture/lab ensemble hours per week for one VOCAL-60 PROJECT RECORDING : VOCAL () Prerequisites: VOCAL-360 Studio Recording : Building on the knowledge and techniques learned in Project Recording : Students will further experience recording with both a Producer and an Engineer, using industry-standard recording equipment. This course sees students arranging and recording a cover version or original song, including overdubs, backing vocals, final EQ and effects. as a means to understand studio vocal performances. Two lecture/lab ensemble hours per week for one PROFESSIONAL DEVELOPMENT // VOCAL MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS (.5) The first in a two-quarter course sequence, designed to provide students with an understanding of the entertainment industry, as it exists today, and essential knowledge for sustaining a career in the digital era. In Applied Entertainment Business, topics include an overview of industry structure, the artist s team (manager, attorney, agent, etc.), copyrights and music publishing, band partnerships and solo artists, employment agreements, work-for-hire, unions and more. One lecture hour per week for one MUBUS-060 APPLIED ENTERTAINMENT BUSINESS (.5) Prerequisites: MUSBUS-0360 Applied Entertainment Business. This course is a continuation of Applied Entertainment Business, further covering the most important areas and aspects of the entertainment industry. Topics include: record labels (major and indie), types of deals, the DIY market, distribution, touring, merchandising, and more. S.M.A.R.T. goal setting is also covered to support students in creating a path to career success. One lecture hour per week for one MUBUS-00 MEDIA RELATIONS () Students learn the difference between publicity and public relations, how to create and implement media campaigns, and how to write artist bios, press releases, news releases, and eye-catching headlines. Skills apply to independent artists as well as those aspiring to work in the industry. Two lecture hours per week for one CC-307 VISUAL MEDIA () Students learn how to use Adobe Photoshop to design original CD artwork, flyers, promotional tools, and other visual materials vital to modern Independent Artists. Emphasis is on creating exciting and expressive designs that directly support music marketing campaigns. Topics covered in this class include: typography, flyer design, album artwork design, image manipulation, merchandise design, and more. Two lecture hours per week for one CC-07 VISUAL MEDIA () Prerequisites: CC-307 Visual Media. The Internet has opened up an enormous opportunity for musicians to promote themselves directly to music fans. This course focuses on the technical skills needed to promote music online. Topics include: building a strong online presence, creation of a content-rich artist website, online marketing tools and strategies, video editing basics, and social media. Two lecture hours per week for one MUBUS-0307 INDEPENDENT ARTIST MARKETING () This course reveals basic marketing concepts applicable to any professional business venture and focuses on the creation of a fully customized, low-budget marketing plan of attack. Furthermore, at a time when new technologies make it more possible than ever for artists to leverage their own careers, there has never been a greater need for practical, independent marketing advice. After identifying a business vision, students conduct research, set short-term goals, and create an integrated mix of marketing strategies to achieve their objective, including defining an image, brand, position, and format, identifying the target audience, gaining access to radio, as well as effectively utilizing live shows, the Internet, press, video promotion, advertising and sponsorships, sales and licensing. Students create a complete marketing plan utilizing handy templates included in the course resource, and receive useful feedback during three in-class work hours. Two lecture hours per week for one // VOCAL CC-05 RHYTHM READING WORKOUT () This course is designed to give Performance Program students a solid foundation in reading rhythms. Students will focus solely on understanding rhythmic notation and subdividing basics. Topics covered include: notation basics (bar lines, time signatures) notes and rests (ranging from whole note to sixteenth note values), note value relationships, counting, triplets and syncopation. One lecture/lab hour per week for one CC-05 RHYTHM READING WORKOUT () Prerequisites: CC-05 Rhythm Reading Workout. This class is designed to give Performance Program students an understanding of intermediate rhythm concepts. Topics covered include: dotted notes, tied notes, swung eighth and sixteenth notes, advanced time signatures (cut time, 3/, 6/8) and mixed meters. One lecture/lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) This course is an introduction to the harmony and theory used within popular music. This is accomplished through the application of music notation (for pitch), major scales, key signatures, intervals, triads, and major scale harmonies. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course is a continuation of Harmony & Theory 0. This is accomplished through the further study of musical notation, diatonic structures, rhythmic values, time signatures, natural minor scales (and variations), minor key signatures, harmonized minor scales, chord inversions, diatonic seventh chords, triad analysis, chord progressions, and key centers. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents variations on diatonic structures from Harmony & Theory 0. Highlights include: pentatonic and blues scales, inverted, extended and non-standard chord types, chord symbols and modes, and voice leading and chord progressions. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents non-diatonic melodic and harmonic concepts. Highlights include: minor key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation, chromatic modulations, Roman numeral analysis, altered and symmetrical scales. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) This course is an introduction to ear training techniques, which can be used within popular music. This is accomplished through the technique of matching specific pitches, major scale melodies, and melodic intervals. Melodic and harmonic intervals, chromaticism, triads, diatonic harmony, rhythm are also studied. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC- Ear Training 0. This course is a continuation of Ear Training 0, through the further study of meter and rhythm, eighth-note phrases, sightsinging, transcribing melody and rhythm, melodic and harmonic intervals, triad qualities, and diatonic major chord progressions. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application- based continuation of Ear Training 0 that focuses on the recognition and transcription of pentatonic scales, simple major and minor pentatonic melodies, triplet rhythms, blues scales, natural minor scale and its variations, chord progressions utilizing inversions, diatonic minor key chord progressions, chord progressions in Roman numerals, seventh chords. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application- based continuation of Ear Training 0 that focuses on the recognition and transcription of sixteenthnote rhythmic phrases, standard variations in minor-key melody and harmony, and seventh chord major and minor diatonic harmony. One lecture hour and one lab hour per week for one CC-08 KEYBOARD PROFICIENCY () Keyboard Proficiency serves as an introduction to contemporary keyboard technique. Through the study of COURSES 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

77 COURSES COURSE DESCRIPTIONS physical posture, finger technique, diatonic scales & chord progressions, this course will enable students to develop the necessary motor skills required for using the keyboard both as a performing instrument and compositional tool. One lecture hour and one lab hour per week for one CC-08 KEYBOARD PROFICIENCY () Prerequisites: CC-08 Keyboard Proficiency. This course further develops the technical skills required for successful keyboard performance and musical comprehension. Pop and Classical repertoire performance serves as the main focus of this course, in addition to further study of chord progressions and scales. One lecture hour and one lab hour per week for one CC-306 SONGWRITING (.5) Fundamentals of contemporary music creation, including song structure, tempo, lyrics, melody, harmony, rhythmic elements, and subjective emotional qualities. This course is equivalent to ARTST-. Two lecture/lab hours per week for one CC-06 SONGWRITING (.5) Prerequisites: CC-306 Songwriting. Continued development of contemporary songwriting skills, including application of fundamental concepts to the creation of original material based on topics and genres provided by the instructor. Includes critique and discussion. This course is equivalent to ARTST-E. Two lecture/lab hours per week for one // VOCAL Voice students may fulfill their elective credit requirements by choosing from program-specific electives, Common Course electives, or entry-level electives offered by other programs; see course offerings for options. VOCAL-SPECIFIC AVAILABLE ONLY TO VOCAL MAJORS VOCAL-00E BRAZILIAN VOCALS (.5) This course examines Brazilian music from the 950s to the present. The emphasis of this course will be on vocal performance. Weekly lectures, readings, and performances will explore four approaches to the music bossa nova, samba song, MPB (Brazilian pop music) and contemporary Brazilian jazz. Contemporary international crossover artist approaches will also be explored to highlight the relevance of these vocal styles for present-day jazz and pop vocalists in the U.S. and other countries. Two lecture/lab hours per week for one VOCAL-0E BLUES VOCALS (.5) A study of the African Diaspora and the development of the blues genre, scale, and form, including a study of vocalists in the blues genre. It provides students with an insight into blues phrasing and emotional delivery in order to create more authentic and convincing blues performances. One lecturelab hour per week for one VOCAL-0E EXTREME VOCALS () Vocalists performing in an extreme style who maintain long careers do so because they apply effective vocal techniques that prevent damage to their voices. Techniques taught include: The Gravel (James Hetfield/Metallica), The Bobcat (Phil Anselmo/Pantera), The Drill Sergeant (Slayer, Godsmack), and The White Scream (Roger Daltrey/The Who). Note: Due to the nature of the techniques taught, students enrolling in this class must sign an Extreme Vocal Release Form. Two lecture/lab hours per week for one VOCAL-0E JAZZ VOCALS (.5) Students learn how to communicate with a band and work in a jazz ensemble. Emphasis is placed on learning the standard repertoire and developing a personal stylistic interpretation. One lecture/ ensemble hour per week for one This course may be repeated for credit. VOCAL-05E ROCK VOCAL STYLES (.5) Students learn the unique styles of influential classic and modern rock vocalists through listening, analysis, demonstrations of technique, class discussion, and weekly in-class performances. Two lecture/lab hours per week for one VOCAL-06E CONTEMPORARY VOCAL ENSEMBLE () Ensemble class designed to teach entry-level vocal students the essentials of backing vocals with an emphasis on blending during live performance. Topics include: harmonizing and holding parts in a large or small ensemble. Two ensemble hours per week for one This course may be repeated for credit. VOCAL-00E RAP TECHNIQUES (.5) This course prepares the student to become a versatile rap singer as well as a background rap singer (a.k.a. hypeman ) and gives an overview of rap history. Emphasis is placed on articulation, syncopation, independence on individual parts, breathing technique, microphone technique, cadence, timing, flow, delivery, vocal timbres, dynamics, animation, and group sound. Two lecture/lab hours per week for one VOCAL-0E COUNTRY VOCALS (.5) This course examines the development of country music from its inception to the present. The emphasis of this course will be on vocal performance. Weekly lectures, readings, and performances will explore approaches to the music and its subgenres (bluegrass, western swing, rockabilly, honky tonk, country-influenced 950 s rock,, 960 s countryfolk, 970 s Southern rock, pop-country, and alternative country). Contemporary crossover artist approaches will also be explored to highlight the relevance of these styles for present- day country and pop vocalists. This course will also explore the business of country music and how it compares to other popular genres. Two lecture/lab hours per week for one VOCAL-06E R&B VOCALS (.5) A study of the African Diaspora and the development of the R&B genre, including a study of vocalists in the R&B genre, providing students with an insight into R&B phrasing and vocal timbre delivery in order to create more authentic and convincing R&B performances. One lecture, and one lab hour per week for one VOCAL-03E DIGITAL NOTATION & ARRANGING () This course explores the art of musical notation as applied to contemporary chart-writing. Focus is on evaluating music information, then determining what details need to be contained on the charts, learning chart-writing by hand, and utilizing the professional digital notation software, Sibelius. Students will acquire the skill to create easy-to-understand and easy-to-edit charts and lead sheets, along with some basic arranging exercises. One lecture hour per week for one VOCAL-3E DIGITAL NOTATION & ARRANGING () Prerequisite: VOCAL-03E Digital Notation & Arranging. A continuation of Digital Notation & Arranging. This course explores the art of musical notation as applied to contemporary chart-writing. Focus is on evaluating music information, then determining what details need to be contained on the charts, learning chart-writing by hand, and utilizing the professional digital notation software, Sibelius. Students will increase their skills in creating easy-tounderstand and easy-to-edit charts and lead sheets, along with arranging exercises. One lecture hour per week for one VOCAL-06E THE ART OF SUCCESS () This course offers real-world advice about how to define success, how to realistically create the next step to evolve as a performer, and how to keep moving up the industry ladder. Two workshop hours per week for one ENTRY-LEVEL AVAILABLE TO NON-VOCAL MAJORS VOCAL-03E GOSPEL CHOIR () An ensemble course in which students perform traditional and contemporary Gospel songs. Students rotate lead vocal performances with the class acting as choir/background. Topics include: constructing lead vocals, learning and arranging harmonies by ear, and group vocal blending and dynamics. Two ensemble hours per week for one This course may be repeated for credit. VOCAL-08E ACCENT REDUCTION () This course enables non-native English speaking students to develop an American English accent for effective Englishlanguage vocals. Students learn to break words into their phonetic elements and identify and concentrate on specific problem sounds. One lecture/lab hour per week for one COURSE DESCRIPTIONS ADVANCED // VOCAL Note: For full details, refer to the course description for each prerequisite named in your elective of interest. VOCAL-00E VOCAL TEACHER TRAINING () Prerequisites: VOCAL-0 Vocal Technique 0. This course is an introduction to building a private vocal studio, keeping track of assignments and students, and vocal training techniques, including: techniques for evaluating the throat; establishing a viable starting-point for the student; correcting interferences; increasing range; applying scale exercises; and effective communication of the science of vocal technique. One lecture hour per week for one VOCAL-E EXTREME VOCALS () Prerequisites: VOCAL-0E Extreme Vocals. A review of various extreme vocal styles followed by extreme-stylespecific vocal exercises. Each student is required to prepare a number of different performances, including a final performance, for class critique and instructor evaluation. Two lecture/lab hours per week for one VOCAL-E JAZZ VOCALS (.5) Prerequisites: VOCAL-0E Jazz Vocals. This course analyzes vocal interpretation of jazz language and form. Through guided listening, the class will compare written melodies to recorded performances by genre-defining vocalists. Every class will include guided listening, as well as practical application through performances. Chord/ scale relationships, as they relate to improvisation, and transcription analysis and performance, will also be presented in detail. Two lecture/lab hours per week for one VOCAL-6E ADVANCED CONTEMPORARY VOCAL ENSEMBLE (.5) Prerequisites: Enrollment by audition only. This course prepares the student to become a versatile ensemble member and background singer. Students will be placed into sections and will be assigned parts. Emphasis is placed on sight-reading, independence on individual parts, inter-section blending, microphone technique, and group sound. Two lecture/lab hours per week for one VOCAL-5E VOCAL AUDITION FUNDAMENTALS () Vocal Technique 0, VOCAL-0 Sightsinging 0, VOCAL-03 Vocal Performance 03, or audition via Program Chair. Enrollment is contingent upon approval of three submitted talent-videos. This course exposes students to the skills necessary to audition in diverse musical situations. The class will cover: the importance of song choice in audition settings; the requirements and expectations of multiple audition-style situations including live auditions; a singing competition; a musical theater audition; fronting a band; becoming a backup vocalist; and auditioning while playing an instrument. Submitted videos will be discussed in class. Two lecture/ ensemble hours per week for one VOCAL-05E TC HELICON FOR VOCALISTS () Prerequisite: VOCAL-0 Sightsinging 0 and VOCAL-30 COURSES 50 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

78 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES Vocal Performance 30. This course provides students with skills to record, loop and design vocals in live performance situations. The class will create vocal improvisations and harmonies with diverse effects that expand a vocalist s presentation utilizing TC Helicon s VoiceLive Touch, a vocal effects processor and looping device. The class will discover how to engage vocal effects and operate presets that result in vocal versatility while onstage.two lecture/ensemble hours per week for one VOCAL-06E THE ART OF SUCCESS () Prerequisites: VOCAL-06E The Art of Success. Students expand their perception of the entertainment industry and their definitions of success within it while engaging in activities designed to hone the skills necessary to be professional musicians and artists. Two workshop hours per week for one VOCAL-30E VOCAL CREATIVITY 30 () Prerequisite: VOCAL-30 Vocal Performance 30 and permission via Audition. Please contact the Vocal Chair to schedule an audition at dbyrd@mi.edu. This course prepares students to expand their creativity by learning to ad lib, utilize vocal improvisation, recognizing musical phrases and instrumental elements by interacting with a rhythm section in numerous genres, various music styles and grooves. Chart-writing by hand will be taught utilizing the whiteboard in class. Lead sheets will be brought to class, interpreted in a style different than its original, and performed with a full rhythm section. Two songs will be selected and performed weekly. This course is transferable as core credit for the Bachelor of Music in Performance (Vocal). Two lecture/ ensemble hours per week for one BACHELOR OF MUSIC DEGREES GENERAL STUDIES REQUIREMENTS Bachelor of Music Degree requirements include completion of 30 semester-units or 5 quarter-units of coursework in General Studies. For general reference, the required distribution of units is shown below along with representative areas of coursework. Please refer to the General Education Transfer Agreement between Los Angeles City College and Musicians Institute for specific course titles and numbers that meet the requirements. Units completed at other institutions will be evaluated to determine their equivalency; see Admissions: Transfer of Credit for more information. Language and Rationality: minimum of semester-units or 8 quarter-units in:. English Composition (English, Journalism): 3 semester-units or.5 quarter-units a. Communication and Analytical Thinking (Mathematics): 3 semester-units or.5 quarter-units b. Communication and Analytical Thinking (Computer Science, Computer Technology, English, Philosophy, Psychology, Speech): 3 semester-units or.5 quarterunits 3. A minimum of 3 additional semester-units or.5 quarter-units from, a, or b above. Natural Sciences: minimum of 3 semester-units or.5 quarter-units in:. Physical Universe (Astronomy, Chemistry, Earth Science, Environmental Science, Geography, Geology, Meteorology, Mineralogy, Oceanography, Physical Science, Physics) or:. Life Forms (Anatomy, Anthropology, Biology, Microbiology, Physiology) Humanities: minimum of 6 semester-units or 9 quarter-units* in:. The Arts (Architecture, Cinema, Photography, Theater) or:. The Humanities (Foreign Language, Humanities, Linguistics, Speech, Literature, Philosophy) *Students with a concentration in Vocals are required to complete 3 semester hours/.5 quarter hours of language courses in French, German, or Italian as part of their minimum Humanities course requirements. Social and Behavioral Sciences: minimum of 9 semesterunits or 3.5 quarter-units, including:. American Institutions and Government (African- American Studies, Chicano Studies, History, Political Science): 3 semester-units or.5 quarter-units in American Institutions and Government a. Social and Behavioral Sciences (Anthropology, Family & Consumer Studies, Geography, History, Linguistics, Psychology, Sociology) or: b. Economics and Politics (Business, Economics, Journalism, Law, Political Science): 3 semester-units or.5 quarter-units 3. A minimum of 3 additional semester-units or.5 quarter-units from, a, or b above. BACHELOR OF MUSIC IN COMPOSITION (SCORING IN VISUAL MEDIA) // COMPOSITION BACH-C.PL PRIVATE MEDIA SCORING COMPOSITION LESSON () Weekly private lesson focused on developing and applying traditional and contemporary compositional techniques and skills. Includes analysis and critique of compositions as well as preparation for scoring assignments plus Sophomore and Senior projects. One private lesson hour per week per BACH-P03 CONTEMPORARY ARRANGING () Prerequisites: CC-30 Harmony & Theory 30 CC-30 Harmony & Theory 30 and BACH-P7 Sibelius Notation. This course is an introduction to instrumentation, arranging techniques, and notation practices for a live rhythm section. Emphasis is placed on score and parts preparation and notation in selected contemporary styles. The objective is to learn the characteristic usage of each instrument in the rhythm section, and to prepare an arrangement step-by-step using a verbal outline, sketch score, and master score. As a final project, each student completes a studio recording of an arrangement for piano, guitar, bass and drums. Two lecture hours per week for one Required lab fee: $00. BACH-P03 CONTEMPORARY ARRANGING () Prerequisites: BACH-P03 Contemporary Arranging. This course is a continuation of Contemporary Arranging, with the addition of brass and woodwind instruments. Topics will include transposition, range, and idiomatic usage of the trumpet and tenor saxophone in popular styles. The objective is to study the brass and reed family with emphasis on twopart soli writing and background lines. Students analyze and learn to build arrangements for rhythm section and two horns. As a final project, each student completes a studio recording of an arrangement for trumpet, tenor sax, guitar, piano, bass, and drums. Two lecture hours per week for one Required lab fee: $00. BACH-P303 CONTEMPORARY ARRANGING 3 () Prerequisites: BACH-P03 Contemporary Arranging. This course is a continuation of Contemporary Arranging, with additional brass and woodwind instruments. Topics will include transposition, range, and idiomatic usage of the trombone, alto saxophone, flute and clarinet. Students will learn arranging techniques for standard -horn ensembles with doubling instruments. The objective is to study the brass and woodwind family with emphasis on four-part harmonization. As a final project, each student completes a studio recording of an arrangement for trumpet, alto saxophone, tenor saxophone, trombone, piano, bass, and drums. Two lecture hours per week for one Required lab fee: $00.00 BACH-P03 CONTEMPORARY ARRANGING () Prerequisites: BACH-P303 Contemporary Arranging 3. This course focuses on chord progressions and reharmonization, and scoring for strings. Topics include harmonic rhythm, chord substitution, dominant and substitute dominant resolution, modal interchange, basic contrapuntal arranging and voice leading. Extensive score analysis of string arrangements is included. The objective is to gain an understanding of effective chord progressions and reharmonization, and to learn the ranges and characteristic usage of the violin, viola, cello and contrabass. As a final project, each student completes a studio recording of an arrangement for string quintet. Two lecture hours per week for one Required lab fee: $00. BACH-P503 CONTEMPORARY ARRANGING 5 () Prerequisites: BACH-P03 Contemporary Arranging. This course combines all previous course materials. Introduces additional concepts of sweetening and overdubbing for recording. Students learn to combine techniques to build intermediate level arrangements. As a final project, each student completes a studio recording of an arrangement for 5 horns (trumpet, trombone, alto saxophone, tenor saxophone, and baritone saxophone), guitar, piano, bass, drums, and sampled strings. Two lecture hours per week for one Required lab fee: $ BACH-M603 CONTEMPORARY ARRANGING 6 () Prerequisites: BACH-P503 Contemporary Arranging 5. This course covers arranging techniques for the large jazz ensemble. Students will study the techniques and conventions common to big band writing. Homework assignments applying these techniques and conventions will be assigned. The final project will be a full-length arrangement for large jazz ensemble. BACH-M33 SCORING () This course covers basic scoring practices and concepts, including the difference between score and source cues, diegetic versus non-diegetic music, and underscore. Research covers the functions of media music, the role of the media music professional and his or her employers, and the scoring process pipeline. Two lecture hours per week for one BACH-M335 SCORING () Prerequisites: BACH-M33 Scoring. This course gives students an understanding of how emotion is communicated through instrumentation choices. Students will also study the process of scoring with or against picture. Two lecture hours per week for one BACH-M336 SCORING 3 () Prerequisites: BACH-M335 Scoring. This course features in-depth melodic and harmonic analysis, along with instruction in applied sequencer skills and rudimentary mixing techniques. This class will address genre in film scores, with an emphasis on accepted musical tropes. Students will complete a variety of scoring assignments focused on writing a good motif and motor as well as orchestration and transcription. Two lecture hours per week for one BACH-M337 SCORING () Prerequisites: BACH-M336 Scoring 3: Introduction to Scoring for Animation. This course is a survey of historical and contemporary animation styles and scoring approaches. Students will do takedown exercises with the instructor, emphasizing complex rhythm and melody, as well as addressing animation conventions in traditional and modern film. Students will complete a variety of animated film scores as part of this class. Two lecture hours per week for one Additional lab fee required. BACH-M338 SCORING 5 () Prerequisites: BACH-M337 Scoring. This course features an exploration of the use of music in the comedy genre and associated subgenres. There will be in-depth analysis of scoring approaches, both historical and contemporary, used for comedy. Applying the techniques of these scoring approaches, students will complete a variety of film scoring assignments. Two lecture hours per week for one Additional lab fee required. COURSES 5 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

79 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES BACH-M339 SCORING 6 () Prerequisites: BACH-M338 Scoring 5. This course features an exploration of the use of music in horror, thriller, and other film genres that involve suspense. There will be indepth analysis of a wide variety of compositional styles and techniques often used for these genres including expressionism, set theory, serialism, aleatory, micropolyphony, and minimalism. Applying these styles and techniques, students will complete a variety of film scoring assignments. Two lecture hours per week for one Additional lab fee required. BACH-M30 SCORING 7 () Prerequisites: BACH-M339 Scoring 6. This course covers fundamental game scoring concepts and techniques, along with an introduction of interactive paradigm and a survey of prevailing styles. The emphasis is on common cue types, including loops, stingers, and cinematics. Students complete multiple scoring assignments and learn basic audio implementation. Two lecture hours per week for one Additional lab fee required. BACH-M3 SCORING 8 () Advanced Applied Thematic Scoring Techniques I in Drama, Epic Drama, Historical/Period Drama, Romance (). Prerequisites: BACH-M30 Scoring 7. This course features an analysis of different types of drama from relationship/family drama and political drama to larger epic works considering geographical, social and time period settings. Students learn about the subtle considerations needed when building a sound palette for storytelling. Two lecture hours per week for one Additional lab fee required. BACH-M3 SCORING 9 () Prerequisites: BACH-M3 Scoring 8. This course features an exploration of approaches to scoring feature-length films. With a focus on the Western genre, the class will examine a variety of methods for spotting a film and plotting the path of a film score. The course-long project will require students to compose the music for a substantial section of a given feature-length film. Two lecture hours per week for one Additional lab fee required. BACH-M33 SCORING 0 () Prerequisites: BACH-M3 Scoring 9 Subgenres: World Music, Library Music, Commercial Music. Covering music for documentaries, this course features an analysis of documentaries about various subjects. Students will be required to compose for music libraries, trailers, reality TV challenges, jingles and commercials. At the end of the quarter, students will have a recording session with full orchestra. Two lecture hours per week for one Additional lab fee required. BACH-M3 ORCHESTRATION () Prerequisites: BACH-P503 Contemporary Arranging 5. Chronological analysis of the orchestra as used in chamber and symphonic styles, including instrumentation and common rules. Orchestration techniques will be studied through score study and through the application of writing skills. Two lecture hours per week for one Additional lab fee required. BACH-M35 ORCHESTRATION () Prerequisites: BACH-M3 Orchestration I. In-depth study of the orchestration techniques used in contemporary media scoring, including style, instrumentation in relation to picture, combining with other ensemble types, and synth tracks. Projects will demonstrate orchestration skills. Two lecture hours per week for one Additional lab fee required. BACH-M30 SOPHOMORE PROJECT () Prerequisite: BACH-M337 Scoring. Each student will give a lecture about a media composer, write a cue-by-cue analysis of a score by that composer, and present a portfolio of refined scoring clips from previous quarters. In order to complete the project, each student will also compose the music for an assigned film clip within hours. BACH-M30 SENIOR PROJECT () Prerequisites: BACH-M3 Scoring 9, BACH-M30 Sophomore Project. Each student will compose a complete musical score for a short film. The final project bundle will include spotting notes, a cue sheet, stems, and a full mix of the score. SUPPORTIVE MUSIC // COMPOSITION BACH-P MUSIC HISTORY I ROOTS OF ROCK AND ROLL () A survey of rock s roots including rhythm & blues, rockabilly, New Orleans, vocal groups, doo-wop, and early 60 s pop, plus an examination of the founding figures and major influences. Two lecture hours per week for one BACH-P MUSIC HISTORY II WORLD MUSIC () Prerequisites: BACH-P Music History I Roots of Rock and Roll. A study of music in the context of selected cultures around the world, aka World Music. Ways in which music and lyrics function in these cultures are explored through listening and transcriptions. Two lecture hours per week for one BACH-P3 MUSIC HISTORY III WESTERN ART MUSIC I () Prerequisites: BACH-P Music History II World Music. A survey of Western art music from the Middle Ages through the end of the 8th century. The course will include discussion of major styles and forms in historical context, supplemented by representative listening. Two lecture hours per week for one BACH-P MUSIC HISTORY IV - WESTERN ART MUSIC II 80-ST CENTURY () Prerequisites: BACH-P3 Music History III Western Art Music I The history of musical styles from the Romantic period through the 0th century including cultural contexts and social meaning. Composers and musical developments in European and American Art Music, orchestral, choral, band, chamber music and solo repertoire are combined with the influences of music from other world cultures. Compositional techniques, style characteristics, and relationships will be emphasized. In addition to a midterm and final examination, the course requires one critical concert report, workbook assignments, and presentation. Two lecture hours per week for one BACH-M5 HISTORY OF SCORING () Survey and analysis of scoring from its roots in photography through silent films, talkies, television, animation and current digital formats, including the roles and influences of musical styles on this global art form. One lecture hour per week for one BACH-M55 CONTEMPORARY VANGUARD () This course would survey the leading edge of current innovators in mainstream film, independent film, games and television composition. A focused study of current innovators will energize students creative thinking. Graduates from this program will be entering a crowded and competitive marketplace. Among the most valuable skills a composer can cultivate in order to rise through all the noise is innovation. One lecture hour per week for one BACH-M97 COUNTERPOINT () The study of two, three, and four-part writing as it applies to species counterpoint. Areas of concentration include: creating lines in diatonic, modal, and serial writing. One lecture hour per week for one BACH-P5 DIRECTING AND CONDUCTING () Fundamentals of conducting including: beat patterns, posture, arm and hand position, articulations, dynamics, left hand functions, incomplete beats, fermatas, basic score reading and application of skills to contemporary music. Students will be videotaped for study. Two lecture hours per week for one BACH-P6 DIRECTING AND CONDUCTING () Prerequisites: BACH-P5 Directing and Conducting. This course is a continuation of Directing and Conducting, focusing on longer scores and various musical styles. Emphasis is placed on conducting for film/video soundtrack recording. Topics include conducting to click track, variable click, meter changes, odd meters, and use of visual aids on the soundstage: punches, streamers and flutters. Two lecture hours per week for one BACH-P7 SIBELIUS NOTATION () Using Sibelius notation software to create lead sheets, master rhythm scores and individual parts formatted in a way similar to those students will need to create for Arranging -5 and Sophomore and Senior Juries. One lecture hour per week for one AUDIO-056 DAW: REASON () Propellerhead s Reason software has long been used for traditional beat making and sequencing for MIDI. Upon completion of this course, students will be able to navigate through the software, including the various windows (main mixer, rack, and sequencer), route audio signal and MIDI, and create basic tracks. Integration of audio loops will also be touched upon as well as a basic understanding of computer set-ups and Digital Audio Workstations (DAWs). Two lab hours per week for one AUDIO-56 DAW: REASON () Prerequisites: AUDIO-056 Reason. This course is a continuation of Reason and focuses on taking advantage of the software s capabilities. Upon completion, students will be able to morph their style by using the various modules (ReDrum, Dr. Octo Rex, Thor) and advanced audio editing techniques, as well as taking advantage of the main mixer s capabilities. They will also be involved in advanced routing of signal (analog/midi) as well as the implementation of other Digital Audio Workstations (DAW s) using ReWire. Two lab hours per week for one AUDIO-05 LOGIC () This course introduces songwriters, composers, producers and sound engineers to the primary features and basic user interface of Logic Pro X. Upon completion, students will understand the process of creating an actual song. Topics covered include: preproduction using Apple Loops, recording/ editing audio, arranging of tracks and producing drum beats with a virtual drummer. This course covers the requirements needed to take the Apple Certified Pro Level One exam in Logic Pro X (Part of ). Two lab hours per week for one AUDIO-5 LOGIC () Prerequisites: AUDIO-05 Logic. This course is a continuation of the Logic Pro X user interface for songwriters, composers, producers and sound engineers. Upon completion, students will understand how to use Logic Pro s comprehensive array of software instruments and arranging of MIDI sequences, as well as editing with Flex Time & Pitch, digital effects processing, mixing, automation and troubleshooting. This course covers the requirements needed to take the Apple Certified Pro Level One exam in Logic Pro X (Part of ). Two lab hours per week for one AUDIO-057 PRO TOOLS 0 () This course focuses on the basic concepts and theory involved in using a digital audio workstation. Students will be able to set-up an Avid Pro Tools session for recording, importing audio, editing, recording MIDI, backing up data, working with FireWire drives and more. When taken with AUDIO-57 (Pro Tools 0), these courses combined will serve as an equivalent to AUDIO-03 (Pro Tools 0 & 0) for students who decide to proceed into the Certificate in Audio Engineering. One lecture hour and two lab hours per week for one AUDIO-57 PRO TOOLS 0 () Prerequisites: AUDIO-057 Pro Tools 0. This course is a continuation of the basic concepts and theory involved in using a digital audio workstation. Students will be able to set- up an Avid Pro Tools session for recording, importing audio, editing, recording MIDI, backing up data, working with FireWire drives and more. When taken with AUDIO-057 (Pro Tools 0), these courses combined will serve as an equivalent to AUDIO-03 (Pro Tools 0 & 0) for students who decide to proceed into the Certificate in Audio Engineering. Completion of the course prepares students to take the Avid Pro Tools Certified User Exam. One lecture hour and two lab hours per week for one BACH-M309 MECHANICS OF SCORE PRODUCTION () Prerequisites: AUDIO-57 Pro Tools 0. Students will COURSES 5 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

80 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES gain knowledge of and practical experience in performing each duty required of a film music editor. Through course lectures, exercises, critiques and collaborative projects encompassing film score recording sessions, students will gain an understanding of the music editor s position, artistic scope, responsibilities, and techniques in the postproduction process of a film. Includes Pro Tools session setup for film scoring, spotting sessions and documentation for film music production. Two lecture hours per week for one BACH-M09 MECHANICS OF SCORE PRODUCTION () Prerequisites: BACH-M309 Mechanics of Score Production This course covers fundamentals of subtractive synthesis, sampling techniques and their application using Apple Logic software. Includes practical application of theory using the ES-, ES- and Sculpture synthesizers as well as the EXS- sampler and Apple Loops utility. The course also covers MIDI mockup process using the vast catalog of virtual instruments included with Logic Audio and Native Instruments Komplete. Students will learn about editing and programming of various instrument and effects combinations in a variety of practical applications. Two lecture hours per week for one Additional lab fee required. BACH-M350 COMPOSERS ENSEMBLE () This course is designed to cultivate collaborative skills that are vital for media composers. Two composition students will work together as a team on an assigned project. Team members will exchange ideas openly and work effectively, with each member of the team taking turns assuming the roles of leader and follower during the project. The course is intended to simulate a common real-life situation. Students are expected to be open to ideas and develop a flexible, entrepreneurial attitude. One lecture hour per week for one BACH-M35 COMPOSERS ENSEMBLE () Prerequisites: BACH-M35 Composers Ensemble. This is a continuation of Composers Ensemble II. In this course, three students will work together as a team. Students will perform various roles within a composing team that includes a lead composer, a MIDI programmer, and an orchestrator. As they work on projects, students will learn how to make effective changes to a track or cue at various stages of the process. One lecture hour per week for one BACH-M99 COMPOSERS COLLABORATIVE () Prerequisites: BACH-M35 Composers Ensemble. This is a continuation of Composers Ensemble II and preparatory course for Senior Project. Each group of students will work together for a comprehensive portfolio, discovering individual styles and refining scoring clips from previous courses. Special topic panelists and guests will be invited for evaluation and lecture. One lecture hour per week for one BACH-M86 THE BUSINESS OF COMPOSING () Prerequisites: None. This course explores the world of music publishing and the how-to of owning and exploiting musical copyrights. Topics include: Copyright law and terminology, the online eco process, publishing rights and how to set up a music publishing company, US PROs and public performance royalties, how to affiliate with a PRO, cue sheet preparation, songwriter contracts and co-publishing agreements, administration agreements, sub-publishing, joint works, royalty splits, mechanical and synchronization licenses, works made-for-hire, sampling, industry organizations and resources for further study. One lecture hour per week for one BACH-M87 THE BUSINESS OF COMPOSING () Prerequisite: BACH-M86 Business of Composing. A practical application of all topics covered in BACH-M86, this course examines music licensing and the process of placing music and songs into Film, TV, video games, commercials and other productions. Music licensing terminology, composer co-administration agreements, sources of musical content for producers, music production libraries, the role of the music supervisor, source cues, spotting sessions, how to negotiate synchronization and master use licenses, composer package deals, music production and sound recordings. One lecture hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0 or Bachelor Program Entrance Exam. This course presents variations on diatonic structures from Harmony and Theory. Highlights include: pentatonic and blues scales; inverted, extended and non-standard chord types, chord symbols and modes; voice leading; and chord progressions. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents non-diatonic melodic and harmonic concepts. Highlights include: minor key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation, chromatic modulations, Roman numeral analysis, altered and symmetrical scales. One lecture hour and one lab hour per week for one CC-30 HARMONY & THEORY 30 () Prerequisites: CC-0 Harmony & Theory 0. This course focuses on topics including: musical textures, irregular resolutions, use of melodic and harmonic sequences, and diminished seventh chords. Two lecture hours per week for one CC-0 HARMONY & THEORY 0 () Prerequisites: CC-30 Harmony & Theory 30. This course covers the analysis and application of the incomplete major ninth chord, seventh chords in non-dominant harmonic function, neighbor chord harmony, ninth, eleventh, thirteen, and appoggiatura chords. Two lecture hours per week for one CC-50 HARMONY & THEORY 50 () Prerequisites: CC-0 Harmony & Theory 0. This course covers the analysis and application of chromatic altered chords including the +II7 and +VI7, Neapolitan, augmented sixth chords and chords with lowered and raised fifths. Two lecture hours per week for one CC-60 HARMONY & THEORY 60 () Prerequisites: CC-50 Harmony & Theory 50. This course covers the analysis and application of the incomplete major ninth chord, seventh chords in non-dominant harmonic function, neighbor-chord harmony, ninth, eleventh, thirteenth, and appoggiatura chords. Continued focus on four-part writing, figured bass and harmonization. Two lecture hours per week for one CC-70 HARMONY & THEORY 70 () Prerequisites: CC-60 Harmony & Theory 60. This course covers the analysis and application of chromatic altered chords, including the +II7 and +VI7, Neapolitan chords, augmented sixth chords and chords with lowered and raised fifths. Continued focus on four-part writing, figured bass and harmonization. Two lecture hours per week for one CC-80 HARMONY & THEORY 80 () Prerequisites: CC-70 Harmony & Theory 70. This course covers the analysis of late 9th and early 0th century score. Discussions include: pandiatonicism, serial writing, polytonality, parallel harmony, and use of symmetrical scales. Two lecture hours per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0 or Bachelor Program Entrance Exam or Bachelor Program Entrance Exam. This course is an application-based continuation of Ear Training 0 that focuses on the recognition and transcription of pentatonic scales, simple major and minor pentatonic melodies, triplet rhythms, blues scales, natural minor scale and its variations, chord progressions utilizing inversions, diatonic minor key chord progressions, chord progressions in Roman numerals, seventh chords. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application-based continuation of Ear Training 0 that focuses on the recognition and transcription of sixteenthnote rhythmic phrases, standard variations in minor-key melody and harmony, and seventh chord major and minor diatonic harmony. One lecture hour and one lab hour per week for one CC-30 EAR TRAINING 30 () Prerequisites: CC-0 Ear Training 0. Development of advanced musical reflexes through the use of movable do solfege. Topics include diatonic major scale harmony in all twelve keys. Techniques include note recognition, intervallic structures, melodic patterns, identification and arpeggiation of harmonic forms in all inversions, dictation, transcription, and sightsinging while conducting. Two lecture hours per week for one CC-0 EAR TRAINING 0 () Prerequisites: CC-30 Ear Training 30. Continued development of advanced musical reflexes through the use of movable do solfege. Topics include parallel minor scale harmony in its three basic forms: natural minor, harmonic minor, and melodic minor in all twelve keys. Techniques include: note recognition, intervallic structures, melodic patterns, identification and arpeggiation of harmonic forms in all inversions, dictation, transcription, and sightsinging while conducting. Two lecture hours per week for one CC-50 EAR TRAINING 50 () Prerequisites: CC-0 Ear Training 0. Continued development of advanced musical reflexes through the use of movable do solfege. Topics include modal harmony that is nondiatonic to the major or parallel minor scales in all twelve keys. Techniques include: note recognition, intervallic structures, melodic patterns, identification and arpeggiation of harmonic forms in all inversions, dictation, transcription, and sightsinging while conducting. Two lecture hours per week for one CC-60 EAR TRAINING 60 () Prerequisites: CC-50 Ear Training 50. Continued development of advanced musical reflexes through the use of movable do solfege. Topics include advanced modes, altered and symmetrical scale harmony in all twelve keys. Techniques include: note recognition, intervallic structures, melodic patterns, identification and arpeggiation of harmonic forms in all inversions, dictation, transcription, and sightsinging while conducting. Two lecture hours per week for one CC-08 KEYBOARD PROFICIENCY () This course serves as an introduction to contemporary keyboard technique. Through the study of physical posture, finger technique, diatonic scales & chord progressions, this course will enable students to develop the necessary motorskills required for using the keyboard both as a performing instrument and compositional tool. One lecture hour and one lab hour per week for one CC-08 KEYBOARD PROFICIENCY () Prerequisites: CC-08 Keyboard Proficiency. This course further develops the technical skills required for successful keyboard performance and musical comprehension. Pop and Classical repertoire performance serves as the main focus of this course, in addition to further study of chord progressions and scales. One lecture hour and one lab hour per week for one CC-308 KEYBOARD PROFICIENCY 3 () Prerequisites: CC-08 Keyboard Proficiency. Degreespecific requirement for non-keyboard majors. Emphasizes using the keyboard as an arranging tool, lead sheet interpretation, basic score reading and outlining an arrangement. One lecture hour per week for one BACH-P3 KEYBOARD PROFICIENCY () Prerequisites: CC-308 Keyboard Proficiency 3. A survey of score reading techniques and practices as applied to the keyboard, including: C clefs, transposing and nontransposing instruments, as well as scores of different sizes and instrumentations. One lecture hour per week for one BACH-P53 KEYBOARD PROFICIENCY 5 () Prerequisites: BACH-P3 Keyboard Proficiency. A keyboard orchestra performance class. Students play COURSES 56 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

81 COURSES COURSE DESCRIPTIONS written scores and improvised parts based on repertoire in a variety of styles. One lecture hour per week for one BACH-M63 PRO READING ENSEMBLE () Prerequisites: BACH-P53 Keyboard Proficiency 5. A keyboard-based performance class developing sightreading skills with various instrumentations and ensemble configurations. Reading selections will include multiple styles and degrees of difficulty. One lecture hour per week for one BACH-M73 PRO READING ENSEMBLE () Prerequisites: BACH-M63 Pro Reading Ensemble. This course is a continuation of advanced sight-reading performance. One ensemble hour per week for one BACHELOR OF MUSIC SPECIFIC ELECTIVE COURSES Baccalaureate elective requirements may be fulfilled through any combination of the courses listed below as well as General Electives and Instrument-Specific electives listed under Associate of Arts Degree programs. BACH-P05 SPECIAL TOPICS IN JAZZ () Topics vary and may focus on a theme, genre, a historical period, composers, or an influential group. Consult with course instructor or Program Dean for information. Two lecture hours per week for one BACH-P00 INDEPENDENT STUDY () Provides students with an opportunity to explore a specific subject area in depth through independent course work with faculty supervision. A maximum of six credits may be applied toward BM requirements. Weekly hours vary. BACH-P06 SPECIAL TOPICS IN MUSIC () Analysis and comparison within focused topic areas such as an historical period, a particular artist s work, or a world music topic. Two ensemble hours per week for one BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) // ALL INSTRUMENTS BACH-PL PRIVATE LESSON - () Weekly private lessons on student s primary instrument. Topics vary based on the needs of the individual from fundamentals to advanced techniques; as well as personal topics of interest and preparation for juries and final projects. One private lesson hour per week per BACH-P5 P53 BACHELOR ENSEMBLES - () Weekly live performance workshops providing development of ensemble techniques, improvisational skills and building repertoire in various styles. One ensemble hour per week per BACH-P0-P6 PERFORMANCE - () An in-depth study of a variety of contemporary and commercial performance-related subjects, including: prototypical characteristics of influential styles, repertoire, improvisation, and interpretation. Dedicated sections for instrumentalists and vocalists. Weekly critiqued performances of selected repertoire. One ensemble hour per week for one This course may be repeated for credit. BACH-P8 SOPHOMORE JURY PREP () Individual preparation for the Sophomore Jury including song selection (see Sophomore Jury course below), lead sheet preparation and requirements for master scores under the guidance of jury advisors and student s private instructor. Songs must be approved by a formal committee and students should perform one of their Jury selections at the Week 8 Jury prep concert. Five bi-weekly mentoring sessions with a jury advisor for one BACH-P08 SOPHOMORE JURY () Prerequisites: BACH-P8 Sophomore Jury Prep. A judged performance (including rhythm section) takes place at the end of the Student performance is evaluated by a panel consisting of members of the Bachelor Program faculty. Students must demonstrate significant skills in the following areas: solo performance, solo transcription, stylistic competency in ensemble repertoire (R&B, funk, rock, Latin, swing), rhythm section scoring /arranging, band leadership / musical direction, and sight-reading. Preparation includes biweekly meetings with a jury advisor to review arrangements, rehearsal progress and related issues. Five bi- weekly mentoring sessions with a jury advisor for one quarter, and a jury performance at the end of the BACH-P8 SENIOR JURY PREP () Prerequisites: BACH-P08 Sophomore Jury. Individual preparation for the Senior Jury including song selection (see Senior Jury course below), lead sheet preparation and requirements for master scores under the guidance of a jury advisor and student s private instructor. Songs must be approved by a formal committee and students should perform one of their Jury selections at the Week 8 Jury prep concert. Five bi-weekly mentoring sessions with a jury advisor for one BACH-P08 SENIOR JURY () Prerequisites: BACH-P8 Senior Jury Prep. A judged performance (with rhythm section and horns) takes place at the end of the Student performance must demonstrate ability to meet final graduation requirements. Performance is evaluated by a panel consisting of members of the Bachelor Program faculty. Students must demonstrate advanced technical skill, stylistic awareness, arranging abilities using a small horn section, overall musicianship in contrasting styles, and stylistic identity as a performer. Preparation includes bi-weekly meetings with a jury advisor to review arrangements and/or original compositions, rehearsal progress and related issues. Five bi-weekly mentoring sessions with a jury advisor for one quarter, and a jury performance at the end of the SUPPORTIVE MUSIC // ALL INSTRUMENTS AUDIO-056 DAW: REASON () Propellerhead s Reason software has long been used for traditional beat making and sequencing for MIDI. Upon completion of this course, students will be able to navigate through the software, including the various windows (main mixer, rack, and sequencer), route audio signal and MIDI, and create basic tracks. Integration of audio loops will also be touched upon as well as a basic understanding of computer set-ups and Digital Audio Workstations (DAWs). Two lab hours per week for one AUDIO-56 DAW: REASON () Prerequisites: AUDIO-056 Reason. This course is a continuation of Reason and focuses on taking advantage of the software s capabilities. Upon completion, students will be able to morph their style by using the various modules (ReDrum, Dr. Octo Rex, Thor) and advanced audio editing techniques, as well as taking advantage of the main mixer s capabilities. They will also be involved in advanced routing of signal (analog/midi) as well as the implementation of other Digital Audio Workstations (DAW s) using ReWire. Two lab hours per week for one BACH-P7 SIBELIUS NOTATION () Using Sibelius notation software to create lead sheets, master rhythm scores and individual parts formatted in a way similar to those students will need to create for Arranging -5 and Sophomore and Senior Juries. One lecture hour per week for one BACH-P07 STYLES SURVEY () Provides students with an analytical overview of styles, chart reading and critical listening as they relate to repertoire requirements. Styles covered include rock, rhythm & blues, jazz and Latin. One lecture hour per week for one BACH-P5 P53 BACHELOR ENSEMBLES - () Weekly live performance workshops providing development of ensemble techniques, improvisational skills and building repertoire in various styles. One ensemble hour per week per BACH-P MUSIC HISTORY I ROOTS OF ROCK AND ROLL () A survey of rock s roots including rhythm & blues, rockabilly, New Orleans, vocal groups, doo-wop, and early 60 s pop, plus an examination of the founding figures and major influences. Two lecture hours per week for one BACH-P MUSIC HISTORY II WORLD MUSIC () Prerequisites: BACH-P Music History I Roots of Rock and Roll. A study of music in the context of selected cultures around the world, aka World Music. Ways in which music and lyrics function in these cultures are explored through listening and transcriptions. Two lecture hours per week for one COURSE DESCRIPTIONS BACH-P3 MUSIC HISTORY III WESTERN ART MUSIC I () Prerequisites: BACH-P Music History II World Music. A survey of Western art music from the Middle Ages through the end of the 8th century. The course will include discussion of major styles and forms in historical context, supplemented by representative listening. Two lecture hours per week for one BACH-P MUSIC HISTORY IV - WESTERN ART MUSIC II 80-ST CENTURY () Prerequisites: BACH-P3 Music History III Western Art Music I The history of musical styles from the Romantic period through the 0th century including cultural contexts and social meaning. Composers and musical developments in European and American Art Music, orchestral, choral, band, chamber music and solo repertoire are combined with the influences of music from other world cultures. Compositional techniques, style characteristics, and relationships will be emphasized. In addition to a midterm and final examination, the course requires one critical concert report, workbook assignments, and presentation. Two lecture hours per week for one BACH-P03 CONTEMPORARY ARRANGING () Prerequisites: CC-30 Harmony & Theory 30 CC-30 Harmony & Theory 30 and BACH-P7 Sibelius Notation. This course is an introduction to instrumentation, arranging techniques, and notation practices for a live rhythm section. Emphasis is placed on score and parts preparation and notation in selected contemporary styles. The objective is to learn the characteristic usage of each instrument in the rhythm section, and to prepare an arrangement step-by-step using a verbal outline, sketch score, and master score. As a final project, each student completes a studio recording of an arrangement for piano, guitar, bass and drums. Two lecture hours per week for one Required lab fee: $00. BACH-P03 CONTEMPORARY ARRANGING () Prerequisites: BACH-P03 Contemporary Arranging. This course is a continuation of Contemporary Arranging, with the addition of brass and woodwind instruments. Topics will include transposition, range, and idiomatic usage of the trumpet and tenor saxophone in popular styles. The objective is to study the brass and reed family with emphasis on twopart soli writing and background lines. Students analyze and learn to build arrangements for rhythm section and two horns. As a final project, each student completes a studio recording of an arrangement for trumpet, tenor sax, guitar, piano, bass, and drums. Two lecture hours per week for one Required lab fee: $00. BACH-P303 CONTEMPORARY ARRANGING 3 () Prerequisites: BACH-P03 Contemporary Arranging. This course is a continuation of Contemporary Arranging, with additional brass and woodwind instruments. Topics will include transposition, range, and idiomatic usage of the trombone, alto saxophone, flute and clarinet. Students will learn arranging techniques for standard -horn ensembles with doubling instruments. The objective is to study the COURSES 58 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

82 COURSES COURSE DESCRIPTIONS brass and woodwind family with emphasis on four-part harmonization. As a final project, each student completes a studio recording of an arrangement for trumpet, alto saxophone, tenor saxophone, trombone, piano, bass, and drums. Two lecture hours per week for one Required lab fee: $00.00 BACH-P03 CONTEMPORARY ARRANGING () Prerequisites: BACH-P303 Contemporary Arranging 3. This course focuses on chord progressions and reharmonization, and scoring for strings. Topics include harmonic rhythm, chord substitution, dominant and substitute dominant resolution, modal interchange, basic contrapuntal arranging and voice leading. Extensive score analysis of string arrangements is included. The objective is to gain an understanding of effective chord progressions and reharmonization, and to learn the ranges and characteristic usage of the violin, viola, cello and contrabass. As a final project, each student completes a studio recording of an arrangement for string quintet. Two lecture hours per week for one Required lab fee: $00. BACH-P503 CONTEMPORARY ARRANGING 5 () Prerequisites: BACH-P03 Contemporary Arranging. This course combines all previous course materials. Introduces additional concepts of sweetening and overdubbing for recording. Students learn to combine techniques to build intermediate level arrangements. As a final project, each student completes a studio recording of an arrangement for 5 horns (trumpet, trombone, alto saxophone, tenor saxophone, and baritone saxophone), guitar, piano, bass, drums, and sampled strings. Two lecture hours per week for one Required lab fee: $ BACH-P5 DIRECTING AND CONDUCTING () Fundamentals of conducting including: beat patterns, posture, arm and hand position, articulations, dynamics, left hand functions, incomplete beats, fermatas as well as basic score reading and application of skills to contemporary music. Students will be videotaped for study. Two lecture hours per week for one BACH-P0 CONTEMPORARY MUSIC INSTRUCTION () The skill and art of teaching contemporary music to students of all ages in various settings, including group classes, private lessons, rehearsals, lectures, and master classes. Covers modern educational philosophies and techniques. Two lecture hours per week for one AUDIO-05 LOGIC () This course introduces songwriters, composers, producers and sound engineers to the primary features and basic user interface of Logic Pro X. Upon completion, students will understand the process of creating an actual song. Topics covered include: preproduction using Apple Loops, recording/ editing audio, arranging of tracks and producing drum beats with a virtual drummer. This course covers the requirements needed to take the Apple Certified Pro Level One exam in Logic Pro X (Part of ). Two lab hours per week for one AUDIO-5 LOGIC () Prerequisites: AUDIO-05 LOGIC. This course is a continuation of the Logic Pro X user interface for songwriters, composers, producers and sound engineers. Upon completion, students will understand how to use Logic Pro s comprehensive array of software instruments, arranging of MIDI sequences, as well as editing with Flex Time & Pitch, digital effects processing, mixing, automation and troubleshooting. This course covers the requirements needed to take the Apple Certified Pro Level One exam in Logic Pro X (Part of ). Two lab hours per week for one AUDIO-057 PRO TOOLS 0 () This course focuses on the basic concepts and theory involved in using a digital audio workstation. Students will be able to set-up an Avid Pro Tools session for recording, importing audio, editing, recording MIDI, backing up data, working with FireWire drives and more. When taken with AUDIO-57 (Pro Tools 0), these courses combined will serve as an equivalent to AUDIO-03 (Pro Tools 0 & 0) for students who decide to proceed into the Certificate in Audio Engineering. One lecture hour and two lab hours per week for one AUDIO-57 PRO TOOLS 0 () Prerequisites: AUDIO-057 Pro Tools 0. This course is a continuation on the basic concepts and theory involved in using a digital audio workstation. Students will be able to set-up an Avid Pro Tools session for recording, importing audio, editing, recording MIDI, backing up data, working with FireWire drives and more. When taken with AUDIO-057 (Pro Tools 0), these courses combined will serve as an equivalent to AUDIO-03 (Pro Tools 0 & 0) for students who decide to proceed into the Certificate in Audio Engineering. Completion of the course prepares students to take the Avid Pro Tools Certified User Exam. One lecture hour and two lab hours per week for one PROFESSIONAL DEVELOPMENT // ALL INSTRUMENTS MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS (.5) This course provides the student with an understanding of the entertainment industry as it exists today essential knowledge for anyone looking to sustain a career as a musician in the digital era. Topics include: an overview of record companies, distributors, representation, contracts, publishing, copyright, viable industry positions and more. This course is equivalent to ARTST-08. One lecture hour per week for one MUBUS-060 APPLIED ENTERTAINMENT BUSINESS (.5) Prerequisites: Applied Entertainment Business. Further exploration of the entertainment business with a focus on the independent aspects of the industry and how musicians can best exploit them to their career advantage. Topics include: how to start a record company, indie distribution deals; agents, managers, and lawyers; starting a publishing company; and entrepreneurship. MUBUS-00 MEDIA RELATIONS () The Internet has forever changed the music industry. This course covers all aspects of how the Internet has impacted music industry distribution, promotion, marketing and retail practices. Topics include: blogging, podcasts, widgets and online retail. Students engage in real-time research. Two lecture hours per week for one // ALL INSTRUMENTS CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0 or Bachelor Program Entrance Exam. This course presents variations on diatonic structures from Harmony & Theory 0. Highlights include: pentatonic and blues scales; inverted, extended and non-standard chord types, chord symbols and modes; voice leading; and chord progressions. One lecture hour and one lab hour per week for one CC-0 HARMONY & THEORY 0 (.5) Prerequisites: CC-0 Harmony & Theory 0. This course presents non-diatonic melodic and harmonic concepts. Highlights include: minor key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation, chromatic modulations, Roman numeral analysis, altered and symmetrical scales. One lecture hour and one lab hour per week for one CC-30 HARMONY & THEORY 30 () Prerequisites: CC-0 Harmony & Theory 0. This course focuses on topics including: musical textures, irregular resolutions, use of melodic and harmonic sequences and diminished seventh chords. Two lecture hours per week for one CC-0 HARMONY & THEORY 0 () Prerequisites: CC-30 Harmony & Theory 30. This course covers the analysis and application of the incomplete major ninth chord, seventh chords in non-dominant harmonic function, neighbor chord harmony, ninth, eleventh, thirteen and appoggiatura chords. Two lecture hours per week for one CC-50 HARMONY & THEORY 50 () Prerequisites: CC-0 Harmony & Theory 0. This course covers the analysis and application of chromatic altered chords including the +II7 and +VI7, Neapolitan, augmented sixth chords and chords with lowered and raised fifths. Two lecture hours per week for one CC-60 HARMONY & THEORY 60 () Prerequisites: CC-50 Harmony & Theory 50. This course covers the analysis and application of the incomplete major ninth chord, seventh chords in non- dominant harmonic function, neighbor-chord harmony, ninth, eleventh, thirteenth, and appoggiatura chords. Continued focus on four-part writing, figured bass and harmonization. Two lecture hours per week for one COURSE DESCRIPTIONS CC-70 HARMONY & THEORY 70 () Prerequisites: CC-60 Harmony & Theory 60. This course covers the analysis and application of chromatic altered chords, including the +II7 and +VI7, Neapolitan chords, augmented sixth chords and chords with lowered and raised fifths. Continued focus on four-part writing, figured bass and harmonization. Two lecture hours per week for one CC-80 HARMONY & THEORY 80 () Prerequisites: CC-70 Harmony & Theory 70. This course covers the analysis of late 9th and early 0th century scores. Discussions include: pandiatonicism, serial writing, polytonality, parallel harmony and, use of symmetrical scales. Two lecture hours per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0 or Bachelor Program Entrance Exam. This course is an applicationbased continuation of Ear Training 0 that focuses on the recognition and transcription of pentatonic scales, simple major and minor pentatonic melodies, triplet rhythms, blues scales, natural minor scale and its variations, chord progressions utilizing inversions, diatonic minor key chord progressions, chord progressions in Roman numerals, seventh chords. One lecture hour and one lab hour per week for one CC-0 EAR TRAINING 0 (.5) Prerequisites: CC-0 Ear Training 0. This course is an application-based continuation of Ear Training 0 that focuses on the recognition and transcription of sixteenthnote rhythmic phrases, standard variations in minor-key melody and harmony, and seventh chord major and minor diatonic harmony. One lecture hour and one lab hour per week for one CC-30 EAR TRAINING 30 () Prerequisites: CC-0 Ear Training 0. Development of advanced musical reflexes through the use of movable do solfege. Topics include: diatonic major scale harmony in all twelve keys. Techniques include note recognition, intervallic structures, melodic patterns, identification and arpeggiation of harmonic forms in all inversions, dictation, transcription, and sightsinging while conducting. Two lecture hours per week for one CC-0 EAR TRAINING 0 () Prerequisites: CC-30 Ear Training 30. Continued development of advanced musical reflexes through the use of movable do solfege. Topics include: parallel minor scale harmony in its three basic forms: natural minor, harmonic minor, and melodic minor in all twelve keys. Techniques include note recognition, intervallic structures, melodic patterns, identification and arpeggiation of harmonic forms in all inversions, dictation, transcription, and sightsinging while conducting. Two lecture hours per week for one CC-50 EAR TRAINING 50 () Prerequisites: CC-0 Ear Training 0. Continued development of advanced musical reflexes through the use of movable do solfege. Topics include: modal harmony 60 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS COURSES

83 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES that is nondiatonic to the major or parallel minor scales in all twelve keys. Techniques include note recognition, intervallic structures, melodic patterns, identification and arpeggiation of harmonic forms in all inversions, dictation, transcription, and sightsinging while conducting. Two lecture hours per week for one CC-60 EAR TRAINING 60 () Prerequisites: CC-50 Ear Training 50. Continued development of advanced musical reflexes through the use of movable do solfege. Topics include advanced modes, altered and symmetrical scale harmony in all twelve keys. Techniques include: note recognition, intervallic structures, melodic patterns, identification and arpeggiation of harmonic forms in all inversions, dictation, transcription, and sightsinging while conducting. Two lecture hours per week for one CC-08 KEYBOARD PROFICIENCY () Keyboard Proficiency serves as an introduction to contemporary keyboard technique. Through the study of physical posture, finger technique, diatonic scales & chord progressions, this course will enable students to develop the necessary motor skills required for using the keyboard both as a performing instrument and compositional tool. One lecture hour and one lab hour per week for one CC-08 KEYBOARD PROFICIENCY () Prerequisites: CC-08 Keyboard Proficiency. This course further develops the technical skills required for successful keyboard performance and musical comprehension. Pop and Classical repertoire performance serves as the main focus of this course, in addition to further study of chord progressions and scales. One lecture hour and one lab hour per week for one CC-308 KEYBOARD PROFICIENCY 3 () Prerequisites: Keyboard Proficiency. Degree-specific requirement for non-keyboard majors. Emphasizes using the keyboard as an arranging tool, lead sheet interpretation, basic score reading and outlining an arrangement. One lecture hour per week for one BACHELOR OF MUSIC SPECIFIC ELECTIVE COURSES Baccalaureate elective requirements may be fulfilled through any combination of the courses listed below as well as General Electives and Instrument-Specific electives listed under Associate Degree Programs. BACH-P05E SPECIAL TOPICS IN JAZZ () Topics vary and may focus on a theme, genre, historical period, composers, or an influential group. Consult with course instructor or Program Dean for information. Two ensemble hours per week for one BACH-P00E INDEPENDENT STUDY () Prerequisites: minimum GPA of 3.5 or above in core courses and permission of Dean. Provides students with an opportunity to explore a specific subject area in depth through independent course work with faculty supervision. One lecture hour per week for one BACH-M33 / CC-33E SCORING () Basic scoring information, including difference between score and source, diegetic versus non-diegetic music, and underscore. Research about functions of Media Music, the roles of Media Music professionals and their employers, and the scoring process pipeline. Two lecture hours per week for one BACH-M335 / CC-M335E SCORING () Prerequisites: BACH-M33 / CC-M33E Scoring. Basic scoring information, including difference between score and source, diegetic versus non-diegetic music, and underscore. Research about functions of Media Music, the roles of Media Music professionals and their employers, and the scoring process pipeline. Two lecture hours per week for one The credit will be transferred to core credits of Bachelor Program s Scoring for Visual Media if students decide to change their major. Two lecture hours per week for one BACH-M336 / CC-M336E SCORING 3 () Prerequisites: BACH-M335 / CC-M335E: Scoring. Indepth melodic and harmonic analysis and transcription of film scores as well as other modern media scores, including nontraditional form, score reading and orchestration techniques. At the end of the quarter, students will have a recording session with string quartet. Two lecture hours per week for one BACH-M337 / CC-M337E SCORING () Prerequisites: BACH-M336 / CC-M336E: Scoring 3. Applied Scoring Techniques: Introduction to Scoring for Animation. Survey of historical and contemporary animation styles and scoring approaches. Utilizing the tools and techniques previously taught, students complete takedown of animation scenes, recreating the scores virtually to match picture. Scoring projects are assigned in cartoon and science fiction styles. Two lecture hours per week for one Additional lab fee required. BACH-C.PL / CC-C.PL PRIVATE MEDIA SCORING COMPOSITION LESSON () Weekly private lesson focused on developing and applying traditional and contemporary compositional techniques and skills. Includes analysis and critique of compositions as well as preparation for scoring assignments plus Sophomore and Senior projects. One private lesson hour per week per The credit will be transferred to core credits of Bachelor Program s Scoring for Visual Media major if students decide to change their major. One lecture hour per week for one BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) // BASS BASS-PL BASS-PL PRIVATE LESSON () A weekly individual instrument lesson that supports core curriculum goals. An instructor guides the student in developing technique, musicianship and style. BASS-0 BASS TECHNIQUE 0 () Prerequisites: Bachelor placement test. Continued study of techniques, with a concentration of versatile approaches to standard rhythms, grooves and feels, including eighth-note and sixteenth-note grooves, straight and swung. Fretboard harmony will cover chords and scales, including pentatonics, blues harmony, minor scale variations, and extended chords. Two lecture hours per week for one BASS-0 BASS TECHNIQUE 0 () Prerequisites: BASS-0 Bass Technique 0. A continuation of Bass Technique 0 with concentration on grooves, additional striking hand techniques and approaches to soloing. Fretboard harmony will examine continue with minor scale variations, modes and improvisation. BASS-30 BASS TECHNIQUE 30 () Prerequisites: BASS-0 Bass Technique 0. This course applies both finger and slap-style electric bass techniques to a variety of contemporary grooves, including: Latin, jazz, oddmeter, funk, swing, shuffles, hip-hop, and others. One lecture hour and two lab hours per week for one BASS-0 BASS TECHNIQUE 0 () Prerequisites: BASS-30 BASS TECHNIQUE 30. Continued application of finger and slap-style electric bass techniques to a variety of contemporary grooves, including Afro- Cuban, jazz ballad, / swing, blues, cut-time Latin, and funk. One lecture hour and two lab hours per week for one BASS-0 BASS READING 0 () Prerequisites: Bachelor placement test. In addition to continued position and specified key reading, this course preps the student to read longer forms through bass clef notation transcriptions, chord charts. Interpreting melodies and rhythms in different styles are also presented in detail. Position playing has the student revisiting the lower register but with concentrated focus of the middle register of the neck. Sight reading concepts will be introduced. This class coordinates with Bass Technique 0 and Bass Performance 30 topics. One lecture hour and one lab hour per week for one BASS-0 BASS READING 0 () Prerequisites: BASS-0 Bass Reading 0. The Bass Reading 0 curriculum continues with position and specific key(s) reading in the upper register of the neck. Continuing with sight-reading concepts and exercises, this course will introduce and exercise odd- meter concepts, reading treble clef notation, compound meter as well as metric modulation, jazz chart reading, lead sheets and transcribing. This class coordinates with Bass Technique 0 and Bass Performance 30 topics. One lecture hour and one lab hour per week for one quarter BASS-30 BASS READING 30 () Prerequisites: BASS-0 Bass Reading 0. Students learn contemporary chart-reading skills through the extensive use of transcriptions and professionally written arrangements. Focus is placed on sight-reading, pitch, rhythm pattern recognition, position playing, and creating a cohesive sound. Course materials correlate with the Common Course Real World Live Performance Workshop. One lecture hour and one lab hour per week for one BASS-0 BASS READING 0() Prerequisites: BASS-30 BASS READING 30() Students will learn various styles of reading with and without rhythm sections. One lecture hour and one lab hour per week for one BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) // DRUMS DRUM-PL DRUM-PL PRIVATE LESSON -6 () A weekly individual instrument lesson that supports core curriculum goals. An instructor guides the student in developing technique, musicianship and style. Twelve credit units required (two per quarter). DRUM-30 DRUM PERFORMANCE 30 () Prerequisites: Bachelor placement test. Covers ensemble performance emphasizing stylistic rhythm section textures and applied techniques. Emphasis is placed on handling variations in typical song form, advanced chart-reading skills, and taking a leadership role within the group. This class coordinates with Drum Technique 0 and Drum Reading 0 topics. Two lecture/ensemble hours per week for one DRUM-30 DRUM PERFORMANCE 30 () Prerequisites: DRUM-30 Drum Performance 30. Ensemble performance emphasizing applied techniques and advanced concepts, such as odd meters and metric modulation. Emphasis is also placed on handling variations in typical song form, improving odd-meter chart-reading skills, metric modulations and developing time feel. This class coordinates with Drum Technique 0 and Drum Reading 0 topics. Two lecture/ensemble hours per week for one DRUM-0 DRUM TECHNIQUE 0 () Prerequisites: Bachelor placement test. This course presents intermediate to advanced hand technique concepts as applied to the drum set. Including rudimental advancement and limb independence. Intermediate drummers need to further develop their ability and understanding of stick control and the subtleties included. This class coordinates with Drum Performance 30 and Drum Reading 0 topics. Two lecture/ensemble hours per week for one DRUM-0 DRUM TECHNIQUE 0 () Prerequisites: DRUM-0 Drum Technique 0. This course presents advanced hand technique concepts as applied to the drum set, including rudimental drum set application and creative development. This class coordinates with Drum Performance 30 and Drum Reading 0 topics. Two lecture/ensemble hours per week for one DRUM-30 DRUM TECHNIQUE 30 () Prerequisites: DRUM-0 Drum Technique 0. This course focuses on more advanced rudiments and their application COURSES 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

84 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES to the drum set in a variety of musical styles, as well as advanced snare drum solos and drum set solo transcriptions. One lecture hour and two lab hours per week for one DRUM-0 DRUM TECHNIQUE 0 () Prerequisites: DRUM-30 DRUM TECHNIQUE 30. Concepts and techniques learned in Drum Technique 0 D35 culminate in student performances of original snare etudes and drum set etudes. One lecture hour and two lab hours per week for one DRUM-0 DRUM READING 0 () Prerequisites: Bachelor placement test. This course presents the essential reading fundamentals needed by professional-level drummers: lead sheet interpretation, drum set orchestration, sight-reading and ensemble figure setup fill development. One and two-bar ensemble figures are presented in varying styles accompanied by orchestration and fill suggestions. This class coordinates with Drum Technique 0 and Drum Performance 30 topics. One lecture hour and one lab hour per week for one DRUM-0 DRUM READING 0 () Prerequisites: DRUM-0 Drum Reading 0. This course presents the advanced reading concepts needed by professional-level drummers: lead sheet interpretation, drum set orchestration, sight-reading and ensemble figure set-up fill development. Advanced concepts such as metric modulations and cut time will also be presented. This class coordinates with Drum Technique 0 and Drum Performance 30 topics. One lecture hour and one lab hour per week for one DRUM-30 DRUM READING 30 () Prerequisites: DRUM-0 Drum Reading 0. Interpretation of sixteenth-note figures, snare drum reading, and etudes in changing meters in preparation for studio recording. One lecture hour and one lab hour per week for one DRUM-0 DRUM READING 0 () Prerequisites: DRUM-30 DRUM READING 30. Advanced reading skills include orchestral snare drum etudes, reading drum set charts with style and meter changes, and multi-tom reading in preparation for studio recording. One lecture hour and one lab hour per week for one BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) // GUITAR GUIT-PL GUITAR-PL PRIVATE LESSON () Twelve credit units required (two per quarter). A weekly individual instrument lesson that supports core curriculum goals, and time permitting, also focuses on student s personal musical development goals. An instructor guides the student in developing technique, musicianship and style. One hour per week per GUIT-30 GUITAR PERFORMANCE 30 () Prerequisites: Bachelor placement test. Fundamental technical approaches to a variety of popular styles are presented and students will perform live on a weekly basis. Emphasis is placed on handling variations in typical song form, improving chart-reading skills, taking a leadership role within the group, playing funk guitar technique and playing in odd meters, plus introduction to a variety of styles such as classic R&B and Motown, contemporary R&B and neosoul, classic funk, the Bo Diddley Rhythm, surf/rockabilly, prog-rock, progressive metal, classic and modern country, country-rock and Southern rock. This class coordinates with Guitar Technique 0 and Guitar Reading 0 topics. Two lecture/ensemble hours per week for one GUIT-30 GUITAR PERFORMANCE 30 () Prerequisites: GUIT-30 Guitar Performance 30. Fundamental technical approaches to a variety of popular styles are presented and students will perform live on a weekly basis. Emphasis will be on advanced chart reading, stage craft, playing in various meters such as 3/, 6/8 and odd meters, plus introduction to styles such as jam-band, Delta blues, urban Chicago blues, Gypsy jazz, minor blues, jazz-blues, American Songbook, Latin/bossa nova, Big Band comping and modern jazz. This class coordinates with Guitar Technique 0 and Guitar Reading 0 topics. Two lecture/ ensemble hours per week for one GUIT-0 GUITAR TECHNIQUE 0 () Prerequisites: Bachelor placement test. Emphasis in this class will be on scales such as Major and Minor Pentatonic, Blues, Dorian, Mixolydian and Lydian, plus introduction to drop voicings, chord progressions, Roman numeral harmony, extended and altered chords, motive development, shuffle feel and blues tonalities. Two lecture hours per week for one GUIT-0 GUITAR TECHNIQUE 0 () Prerequisites: GUIT-0 Guitar Technique 0 This course has emphasis on advanced concepts such as 6th note strum technique, odd-meters, scales such as Phrygian, Locrian, Harmonic and Melodic minor, modal interchange and common approaches for playing over dominant chords. One lecture hour plus two lab hours per week for one GUIT-30 GUITAR TECHNIQUE 30 () Prerequisites: GUIT-0 Guitar Technique 0. The lecture section will introduce new scale patterns, accompaniment patterns, and performance techniques. The lab section will have the students performing selections chosen in regards to application of the new techniques taught in this course as well as the previous Guitar Technique courses. One lecture hour and two lab hours per week for one GUIT-0 GUITAR TECHNIQUE 0 () Prerequisites: GUIT-30 Guitar Technique 30 The lecture section will introduce advanced performance techniques and stylistic variations. The lab section will have the students performing selections chosen in regards to application of the new techniques taught in this course as well as the previous Guitar Technique courses. One lecture hour and two lab hours per week for one GUIT-50 ADVANCED CONCEPTS (FOR THE GUITARIST) () Prerequisites: GUIT-350 Advanced Musicianship Concepts (For The Guitarist). Topics to be covered include: advanced improvisational concepts, deeper harmonic understanding, and more sophisticated aspects of musicianship. Two lecture hours per week for one GUIT-0 GUITAR READING 0() Prerequisites: Bachelor placement test. Emphasis will be on reading in nd and 7th position, reading harmonies, duo and trio performances and advanced real-world charts. This class coordinates with Guitar Technique 0 and Guitar Performance 30 topics. Two lecture hours per week for one GUIT-0 GUITAR READING 0 () Prerequisites: GUIT-0 Guitar Reading 0. Emphasis will be on reading in multiple positions, reading polyphonic music, trio and quartet performances and advanced realworld charts. This class coordinates with Guitar Technique 0 and Guitar Performance 30 topics. Two lecture hours per week for one GUIT-30 GUITAR READING 30 () Prerequisites: GUIT-0 Guitar Reading 0. Students learn to count and read in odd and changing meters, across string sets, and with expanded emphasis on multi-position melodies. One lecture hour and one lab hour per week for one GUIT-0 GUITAR READING 0 () Prerequisites: GUIT-0 GUITAR READING 0. Advanced score interpretation and sight-reading techniques are developed using iconic musical excerpts. Emphasis on applying reading techniques to real-world sight-reading challenges. One lecture hour plus one lab hour per week for one BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) // KEYBOARD KEYBD-PL KEYBOARD-PL PRIVATE LESSON () A weekly individual instrument lesson that supports core curriculum goals. An instructor guides the student in developing technique, musicianship and style. Twelve credit units required (two per quarter). KEYBD-30 KEYBOARD PERFORMANCE 30 () Prerequisites: Bachelor placement test. A performance class that utilizes both technical and popular music approaches, with an emphasis on atypical song forms, stylistic embellishments, volume swells, use of the modulation wheel, keyboard splits and sonic layering. Each topic is applied to a particular groove, comping pattern and musical form. Leadership within a group is also discussed. This class coordinates with Keyboard Technique 0 and Keyboard Reading 0 topics. Two lecture/ensemble hours per week for one KEYBD-30 KEYBOARD PERFORMANCE 30 () Prerequisites: KEYBD-30 Keyboard Performance 30. A performance- based class that utilizes practical techniques and advanced concepts, such as dual keyboard playing, multiple keyboard splits, key transposition and detailed improvisation. Each topic is applied to a particular groove, style and song form. Further leadership within a group is also discussed. This class coordinates with Keyboard Technique 0 and Keyboard Reading 0 topics. Two lecture/ ensemble hours per week for one KEYBD-0 KEYBOARD TECHNIQUE 0 () Prerequisites: Bachelor placement test. Weekly group study centers on the development and subsequent mastery of the performance skills necessary for becoming a successful keyboardist. Students will gain a thorough understanding of both the mental and physical components that contribute to proper technique. Subsequent curricular topics include pentatonic & blues scales, the Mixolydian & Dorian modes, chromatic interval- based extensions, first, second & third inversion seventh chords, ii7-v7-ima7, iimi7(b5)-v7-ima7/i7 progressions, major & dominant cycles, add9 & sus chords and seventh chord- based arpeggios. Two lecture hours per week for one KEYBD-0 KEYBOARD TECHNIQUE 0 () Prerequisites: KEYBD-0 Keyboard Technique 0. Weekly group study centers on the development and subsequent mastery of the performance skills necessary for becoming a successful keyboardist. Students will gain a thorough understanding of both the mental and physical components that contribute to proper technique. Subsequent curricular topics include Locrian & Lydian modes, altered scales, ii7-v7-ima7 & iimi7(b5)-v7- Ima7/i7 progressions utilizing chromatic extensions & tri-tone substitutions and lead-sheet interpretation, complete with three & four-note voicings. Two lecture hours per week for one KEYBD-30 KEYBOARD TECHNIQUE 30 () Prerequisites: KEYBD-0 Keyboard Technique 0. Application of concepts of chord-scale harmony to voicings and chord progressions. Students explore the techniques of tension substitution and use it to create voicings while composing and performing their own progressions. One lecture hour and two lab hours per week for one KEYBD-0 KEYBOARD TECHNIQUE 0 () Prerequisites: KEYBD-30 KEYBOARD TECHNIQUE 30. A continuation of chord construction based on chord-scale harmony. Students learn how to create their own voicings and make effective musical choices. One lecture hour and two lab hours per week for one KEYBD-0 KEYBOARD READING 0 () Prerequisites: Placement test. Topics include: interpreting rhythmic, harmonic and melodic patterns within a particular groove and song form. This class coordinates with Keyboard Technique 0 and Keyboard Performance 30 topics. Two lecture hours per week for one KEYBD-0 KEYBOARD READING 0 () Prerequisites: KEYBD-0 Keyboard Reading 0. Topics include: reading compound time signatures, meter changes, harmonic and melodic patterns within a particular groove, COURSES 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

85 COURSES COURSE DESCRIPTIONS keyboard patch and song form. This class coordinates with Keyboard Technique 0 and Keyboard Performance 30 topics. Two lecture hours per week for one KEYBD-0 KEYBOARD READING 30 () Prerequisites: KEYBD-0 Keyboard Reading 0. This course focuses on reading difficult charts with lead lines and chord symbols. Rhythmic syncopation and fully extended chords are explored. Students play complex charts drawn from contemporary arrangements in a lab/ ensemble setting. One lecture hour and one lab hour per week for one BACH-K63 BACH KEYBOARD READING 6 () Prerequisites: BACH-K353 BACH Keyboard Reading 5. Continuation of advanced reading techniques. One lecture hour and one lab hour per week for one BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES) // VOCAL VOCAL-PL PRIVATE LESSON () A weekly individual instrument lesson that supports core curriculum goals. An instructor guides the student in developing technique, musicianship and style. Twelve credit units required (two per quarter). VOCAL-30 VOCAL PERFORMANCE 30 () Prerequisites: Bachelor placement test. Additional live ensemble performing experience featuring progressively more complex material, additional musical genres and the ability for students to perform their own material at set points within the course. Two ensemble hours per week for one VOCAL-30 VOCAL PERFORMANCE 30 () Prerequisites: VOCAL-30 Vocal Performance 30. Additional live ensemble performing experience featuring progressively more complex material, additional musical genres, and the ability for students to perform their own material at set points within the course. One ensemble hours per week for one VOCAL-330 VOCAL PERFORMANCE 330 () Prerequisites: VOCAL-30 Vocal Performance 30. Emphasis is placed on taking a leadership role within the group along with all aspects of being a polished professional performer, such as phrasing, stylistic interpretation, use of props, stage presence, image, communication with the band, and creation and explanation of quality charts. One ensemble hour with full band per week for one VOCAL-30 VOCAL PERFORMANCE 30 () Prerequisites: VOCAL-330 VOCAL PERFORMANCE 330. In addition to master class vocal technique coaching from the instructor, students prepare themselves for their final showcase (a professional performance with the assistance of a full rhythm section). Objectives include: rehearsal techniques, development of press package, a gig booked with professional quality charts, as well as polishing performance skills (including pre-production, rhythm section communication, crowd interaction, stage presence, and stylistic interpretation). The final performance will be open to the public. One ensemble hour with full band per week for one VOCAL-0 VOCAL TECHNIQUE 0() An introduction to the anatomy and physiology of the voice. Topics include: vocal physiological terminologies, breathing and breath management (and how it affects the act of singing), effective practice habits, registers and efficient phonation techniques. Two lecture/lab hours per week for one VOCAL-0 VOCAL TECHNIQUE 0 () Prerequisites: Vocal-0 Vocal Technique 0. This course focuses on understanding the nature of human voice production. Topics include: formation of speech sounds, improving range, factors that affect vocal health and an exploration of the physical mechanics of producing sound for various styles. Learning to recognize different vocal functions through analysis and review. Two lecture/lab hours per week for one VOCAL-0 VOCAL TECHNIQUE 0 () Prerequisites: Vocal-0 Vocal Technique 0. This course is focused on bridging the voice into a continuous register without breaks. Vocal exercises to strengthen the voice and allow singing at full power are discussed and practiced. Two lecture/lab hours per week for one VOCAL-0 VOCAL TECHNIQUE 0 () Prerequisites: Vocal-0 Vocal Technique 0. The final Vocal Technique course addresses the formation of vowels and consonants, techniques for connecting with the lyrics and associated emotions of songs, the application of vocal technique to assist in learning songs, and the analysis and imitation of contemporary artists; voices as a means to develop a deeper awareness and understanding of the vocal instrument. Two lecture/lab hours per week for one VOCAL-0 SIGHTSINGING 0 () Prerequisites: Bachelor Placement test. This course expands sightsinging skills to include the introduction of major and minor diatonic melodies, mixed rhythms and complex harmonies. Topics include: intervals, inversions, major and minor thirds, major melodies, triads, arpeggios and quarternote triplets. Two lecture/lab hours per week for one VOCAL-0 SIGHTSINGING 0 () Prerequisites: VOCAL-0 Sightsinging 0. Continued exploration of major and minor melodies and mixed rhythms. This course includes an introduction to minor scales, seventh chords and changing meters. Two lecture/lab hours per week for one VOCAL-30 SIGHTSINGING 30 () Prerequisite: Vocal-0 Sightsinging 0. In this course, more complicated sight singing materials will be studied. Topics will include tension/resolution with stylistic approaches, modulations, mixed rhythms, mixed grooves, etc. Two lecture/lab hours per week for one VOCAL-0 SIGHTSINGING 0 () Prerequisite: Vocal-30 Sightsinging 30. Through this course, the course will be focused on the application of Sightsing in real world performance situations. stylistic examples will be suggested as hypothetical set programs and students will sing the song selections. The various practical methods will be suggested. At the same time, various practice strategies to be more equipped singers will be introduced. Two lecture/lab hours per week for one COMMON COURSE Except where students are required to choose electives from a program-specific list, students may also fulfill their elective requirements with the Common Course Electives listed here. See program descriptions for specific elective credit requirements and program-specific elective offerings. Note: Most electives are not offered every quarter and electives may be added or canceled without prior notice. Refer to the current course offering for specific courses available at time of registration. CC-03E STARTING YOUR MUSIC CAREER () Prerequisites: Performance (BASS-03, DRUM- 03,GUIT-30, KEYBD-03, VOCAL-03). Learn what it takes to build and sustain a career as a working musician, including practical advice and proven steps for getting and passing auditions, preparation and promotion, and obtaining work from clubs and casuals to sessions and tours. Students experience a mock audition under the direction of a professional talent coordinator. Two workshop hours per week for one CC-03E LIVE PERFORMANCE WORKSHOPS () LPWs are required for all AA and Certificate in Performance programs. This is an elective version of the core performance course. Students gain performing experience in a wide range of contemporary styles. See catalog section on Live Performance Workshops for general descriptions; refer to current course offering for specific LPW is available at time of registration. Minimum of ten performances per May be repeated for credit. CC-03E INTRO TO imovie & CREATING SHOWREELS (.5) An introduction to basic/intermediate view showreel editing techniques and grassroots marketing and self-promotion, utilizing Apple s ilife apps. One lecture hour and one lab hour per week for one May be repeated for credit. CC-053 MUSIC VIDEO BOOT CAMP (.5) An introductory course in creating simple, single-camerastyle music videos. Students, sourcing their own bands or artists, will create a music video under the guidance of the instructor in a series of seminar-style workshops. Topics covered will be: the basics of directing performance, camera operation and video editing. CC-065E DJ TECHNIQUE : VINYL and CD (.5) The DJ Technique : Vinyl & CD curriculum is designed to be a comprehensive resource for the aspiring DJ. It is an in-depth study of how to master traditional DJing techniques through the use of vinyl phono records as well as compact COURSE DESCRIPTIONS discs. One hour of lecture and one lab hour per week for one CC-066E DJ TECHNIQUE : SERATO (.5) The DJ Technique : Serato curriculum is designed to be a comprehensive resource for the aspiring Computer DJ. It is an in-depth study of how to master contemporary DJing techniques through the use of Vinyl Emulation Software. One hour of lecture and one lab hour per week for one CC-068E INDIVIDUAL DJ WORKSHOP () Computer-based weekly one-on-one workshop with an instructor who guides the student in developing technique, musicianship, and style in a support of DJ skills. Students learn how to enhance their basic DJ knowledge into dynamic and professional quality performance. Topics include beat matching, set-building, remixing, turntablism, and more. One private lesson hour per week for one May be repeated for credit. CC-69E TURNTABLISM (.5) Prerequisites: CC-065E, DJ Tech : Vinyl and CD, CC- 066E, DJ Tech : Serato, or CC -068E, Individual DJ Workshop. This course is an introduction to the art of turntablism using traditional vinyl as well as Serato Scratch Live. Strong focus is placed on the following types of scratching skills: Baby, Tear, Stab, Transformer, Chirp, and One-Click Flare Orbit. These techniques comprise the vocabulary of the modern turntablist. One lecture hour and one lab hour per week for one quarter CC-66E ADVANCED SERATO WORKSHOP () Prerequisites: CC-066E DJ Technique : Serato. This workshop is a hands-on study of the advanced techniques in Serato Scratch Live s vinyl emulation software. Concentration is placed on using the SP-6 internal sample player, DJFX internal plug-ins, assigning software functions to MIDI controllers, and streaming/manipulating live audio using LiveFeed. Two workshop hours per week for one CREATIVE DEVELOPMENT // COMMON COURSE CC-0E MUSIC PRODUCTION ANALYSIS () Group-based course in which students and instructor listen to and discuss music of different styles and genres. Discussions center on what production techniques are being employed musically and sonically. CC-60E ARTIST DEVELOPMENT: THE SONGS () Prerequisites: CC-306 Songwriting, or permission from the Common Course Program Chair. Permission does not guarantee placement out of CC-306 Songwriting. Also available to Bachelor students with permission from Common Course Program Chair and Dean of Performance Studies. Independent Artist students are exempt from prerequisite requirements. During intensive one-on-one sessions, instructor and student work on developing original songs from ideas to finished arrangements. One private lesson-rehearsal hour per week for one quarter plus final presentation. This course may be repeated for credit. 66 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS COURSES

86 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES CC-6E ARTIST DEVELOPMENT: THE SHOW () Prerequisites: CC-60E Artist Development: The Songs, or permission from the Common Course Program Chair. Permission does not guarantee placement out of CC- 306 Songwriting. Also available to Bachelor students with permission from Common Course Program Chair and Dean of Performance Studies. Independent Artist students are exempt from prerequisite requirements. Instructor and student develop live performances of original material written during The Songs with concentration on stage presence, movement, audience rapport, image, song sequence and entertainment value. At the conclusion, students present their best live material for evaluation and screening by a jury of guest experts. Selected students qualify for an additional video- recorded industry showcase. This course is not equivalent to CC-306 (Songwriting ). One private lessonrehearsal hour per week for ten weeks plus jury. This course may be repeated for credit. CC-63E CREATIVITY WORKSHOP () Based on the book The Artist s Way, this workshop is intended to help students tap into a deeper sense of creativity in both music and life. The goal is to create more dialogue among students, developing a community of artists who learn to open up and relate to each other while exchanging ideas about the creative process. Two workshop hours per week for one This course may be repeated for credit. CC-0E SONGWRITERS LAB () This course is designed to foster open discussion, idea sharing, performance, and relationship-building for songwriters. Student songwriters perform their songs and share the writing process followed by open discussion of alternative writing techniques and the creative process. This course is not equivalent to CC-306 (Songwriting ). Two workshop hours per week for one This course may be repeated for credit. CC-06E ORIGINAL LYRIC WRITING () Prerequisites: CC-08E Fundamentals of Lyric Writing. Application of lyric writing fundamentals to students original work, including extensive writing assignments and evaluation of material with a focus on lyrical content. This course is not equivalent to CC-306 (Songwriting ). Two lecture/workshop hours per week for one CC-08E FUNDAMENTALS OF LYRIC WRITING () Lyrics are the language of music, and often have as much or more to do with the success of a song than the music. This course focuses on developing a basic knowledge of lyric writing, including discussion and analysis of the form, structure, and content of popular hit songs. This course is not equivalent to CC-306 (Songwriting ). Two lecture hours a week for one CC-M33E SCORING () Basic scoring information, including difference between score and source, diegetic versus non-diegetic music, and underscore. Research about functions of Media Music, the roles of Media Music professionals and their employers, and the scoring process pipeline. This course is transferable as core credit to the Bachelor of Music Degree in Composition. Two lecture hours per week for one CC-M335E SCORING () Prerequisites: CC-M33E Scoring. Analysis and transcription of well-known media music scores. Understanding musical concepts: instrumentation choices, stylistic considerations, and behind-the-scenes material from well-known scores. Students will also study about scoring with or against picture. This course is transferable as core credit to the Bachelor of Music Degree in Composition. Two lecture hours per week for one CC-M336E SCORING 3 () Prerequisites: CC-M335E: Scoring. In-depth melodic and harmonic analysis and transcription of film scores as well as other modern media scores, including non-traditional form, score reading, and orchestration techniques. At the end of the quarter, students will have a recording session with string quartet. This course is transferable as core credit to the Bachelor of Music Degree in Composition. Two lecture hours per week for one CC-M337E SCORING () Prerequisites: CC-M336E: Scoring 3. Applied Scoring Techniques: Introduction to Scoring for Animation. Survey of historical and contemporary animation styles and scoring approaches. Utilizing the tools and techniques previously taught, students complete take-down of animation scenes, recreating the scores virtually to match picture. Scoring projects are assigned in cartoon and science fiction styles. This course is transferable as core credit to the Bachelor of Music Degree in Composition. Two lecture hours per week for one Additional lab fee required. CC-M68E LOGIC FOR MEDIA SCORING (.5) Sequencing using the Logic Pro software application on the Mac platform. Topics covered include working with MIDI and audio, virtual instruments, effects, drum programming, time stretching, and working with loops. Students build a basic palette and complete commercial scoring assignments. This course is transferable as core credit to the Bachelor of Music Degree in Composition. One lecture hour and one lab hour per week for one CC-M69E LOGIC FOR MEDIA SCORING (.5) Prerequisites: CC-M68E Logic for Media Scoring. Continuation of Logic I featuring advanced sequencing techniques, in-depth exploration of MIDI parameters and aesthetic applications and introduction to digital audio module. Topics include: effects, automation, scoring to picture, third-party plug-ins, and mastering using Logic s companion program, Waveburner. Students create second commercial jingles from virtual and live overdub with lifts in contemporary popular styles. This course is transferable as core credit to the Bachelor of Music Degree in Composition. One lecture hour and one lab hour per week for one CC-C.PL PRIVATE MEDIA SCORING COMPOSITION () Weekly private lesson focused on developing and applying traditional and contemporary compositional techniques and skills. Includes analysis and critique of compositions as well as preparation for scoring assignments plus Sophomore and Senior projects. One private lesson hour per week per Private lesson should be enrolled with Scoring courses. This course is transferable as core credit to the Bachelor of Music Degree in Composition. One lecture hour per week for one MUSIC BUSINESS-ORIENTED COMMON COURSE CC-033E INTRO TO MUSIC PUBLISHING () An overview of music publishing from the artist s perspective. Topics include copyright basics, how co-writers divide percentages in a composition, when the producer gets credit, protecting your compositions (PA and SR forms), what publishing companies can do for your career (song-plugging, advances, administration, marketing funds), and more. One lecture hour per week for one CC-07E PLANNING YOUR FIRST TOUR () This course concentrates on planning, promoting, and executing a band s first regional tour. We explore when to perform regionally, how to negotiate, and when to pitch your music to larger local promoters/agents. Other subjects include: identifying fan demographics to choose touring cities, calculating break-even costs, securing paid/preassembled anchor dates, and writing realistic contracts and tech riders. Final classes cover how to get press and use social media plus writing detail itineraries that produce successful tours. One lecture hour per week for one CC-050E MUSIC BUSINESS BASICS () This course will introduce aspiring artists to the business side of music. It covers the key areas and issues artists should be aware of when creating and marketing music, developing their careers, selecting artist-team members, seeking industry attention, and entering into contractual relationships. It will present, in a realistic way, what it takes to stand out, protect vital interests and, ultimately, be successful in the music business today. One lecture hour per week for one CC-05E DOING BUSINESS AS A BAND () An overview of how bands and band members should conduct business. Topics include band membership agreements, business entities, band names and trademarks, the business of songs, rehearsal tips, promotional tools, booking and performing, and a survey of record deals. One lecture hour per week for one CC-053E MUSIC VIDEO BOOT CAMP (.5) Essential self-marketing and promotional techniques used by modern artists to spread audio-visual materials across the marketplace. Topics include creating a presence on online music portals, DIY marketing strategies and techniques, identifying the target demographic, live show booking, and an overview of current marketing tools. One lecture hour and one lab hour per week for one CC-05E BUSINESS OF WORKING MUSICIANS () Students learn to manage a career as a working musician. Topics include: managing life on the road, negotiating an employment contract, calculating per diems, key-man clauses, equipment endorsements, working with unions (AFM and AFTRA), band membership agreements, and more. One lecture hour per week for one CC-055E NEW MUSIC MARKETS () Students explore ways to make money with music. Learn the ins & outs of finding larger audiences, finding seed money for music projects, applying for showcases/contests/grants, securing endorsements, and reaching an audience that appreciates their music. One lecture hour per week for one CC-05E THE WORKING SONGWRITER () This course will dive deep into the realm of current industry hit songwriting and help students learn what it takes to become a working songwriter plus practice current forms of industry songwriting techniques. One lecture hour per week for one CC-060E MUSIC INTERNSHIP () Prerequisites: completion of one quarter of study in residence. Students gain practical experience working with a music industry-related company in the Los Angeles area. The student will assist in daily operation of a music company working with records labels, publishing companies, booking agents & venues, marketing and publicity companies, or other music related companies. Music students can take this elective during any They MUST complete at least 30 internship hours per enrolled This course may be repeated for credit. CC-06E MUSIC LAW BASICS () This course is designed to expose aspiring musicians, vocalists, engineers, producers, and other music industry professionals to those areas of law which permeate and control the music business, including fundamentals of Copyright Law, Trademark Law, Contract Law, Publishing, Songwriter and Collaboration Agreements, Licensing Agreements, Record Deals, Constitutional Law, and International Law and treaties. One lecture hour per week for one CC-0E THE BUSINESS OF AUDIO () In this course, students gain a comprehensive overview of operating a business as an audio engineer or producer. Topics include: music budgets, invoicing, finances, and basic accounting methods to legally setting up their own business. Students also discuss the challenges of the new business model as well as industry definitions and roles. This course is equivalent to AUDIO-0 (The Business of Audio). One COURSES 68 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

87 COURSE DESCRIPTIONS COURSE DESCRIPTIONS COURSES lecture hour per week for one CC-09E DIY MUSIC MARKETING (.5) Independent artists and musicians now have more opportunities to control their own career than at any time in the history of the music business. To be both self-sufficient and successful, artists must be highly motivated and organized in their business approach. This course shows how to develop a brand identity, release and market your music, promote yourself on the Internet, and build a fan base. All students are required to develop and submit a detailed marketing plan. CC-08E EVENT PRODUCTION CONTRACTS () This course examines the individual elements that make-up an Event, and how venue production requirements and client needs can be communicated in both written form (the contract) and verbally (the verbal advance). Industry success and survival tools such as forging vendor relationships, and communication and organizational skills are also examined. This course is equivalent to AUDIO-08 (Event Production Contracts). One lecture hour per week for one ADVANCED // COMMON COURSE CC-70E ADVANCED ENSEMBLE SKILLS () Prerequisites: Technique 0 (BASS-0, DRUM-0, GUIT- 0, or KEYBD- 0). An introduction to the skills necessary to function as an advanced, professional-level rhythm section. Instructor will act a musical director for a funk, fusion and jazz-rock-oriented rehearsal band. Emphasis will be placed on groove, timing, and feel. Each instrument chair (bass, drums, percussion, keyboard) will be open to a maximum of three students. The guitar chair will support four guitar students. Improvisation, lead sheet, and notation skills will be required. Two ensemble hours per week for one NON-INSTRUMENT SKILLS // COMMON COURSE CC-03E FINAL CUT PRO X (.5) A course designed to familiarize beginning to seasoned film editors on the variety of features available in Final Cut Pro X. Topics will include: transforming clips, manipulating audio, color correcting, and multi-camera editing. One lecture hour and one lab hour per week for one May be repeated for credit. CC-03E INTRO TO imovie & CREATING SHOWREELS (.5) An introduction to basic/intermediate view showreel editing techniques and grassroots marketing and self-promotion, utilizing Apple s ilife apps. One lecture hour and one lab hour per week for one This course may be repeated for credit. CC-06E LEAD SHEETS & INSTRUMENTATION WORKSHOP () Prerequisite: Harmony & Theory 0 (CC-0). This course covers the sound, mechanic, and method of notation for instruments not offered as principle instruments of study at Musicians Institute, including: members of the brass family (trumpet, trombone), the woodwind family (flute, clarinet, saxophone), and string family (violin, cello, banjo, mandolin, lap steel, etc). The course also focuses on the basics of proper chord chart and lead sheet writing for most small group settings, including: types of song form, road maps, and methods of notation. As a final project, students will create a chord char/lead sheet for the rhythm section and two transposing instruments. Two lab hours per week for one CC-080E COMPUTER NOTATION () An important, practical, and contemporary survey of computer notational techniques using Sibelius notation software. Recommended for all students, this course has wide application for theory, arranging, songwriting, and other assignments requiring notation. Two hours per week for one CC-083E SCORING FOR FILM & TELEVISION () An overview of the techniques and aesthetics of scoring original music for film & television. This course is lab-intensive with an emphasis on composition. The students will gain practical knowledge about scoring for film and television with lectures covering topics from the function of score to melodic motifs, as well as in class feedback on their weekly composition assignments. Two lecture hours per week for one CC-83E SCORING FOR FILM & TELEVISION () Prerequisites: CC-083E Scoring for Film & Television. This course is lab-intensive with an emphasis on composition. Students will gain practical knowledge about scoring for film and television with lectures covering topics from thematic continuity to orchestration, as well as in-class feedback on their weekly composition assignments. Two lecture/lab hours per week for one AUDIO-057E PRO TOOLS 0 () This course focuses on the basic concepts and theory involved in using a digital audio workstation. Students will be able to set-up an Avid Pro Tools session for recording, importing audio, editing, recording MIDI, backing-up data, working with FireWire drives, and more. When taken with CC- 57E/AUDIO-57 (Pro Tools 0), these courses combined will serve as an equivalent to AUDIO-03 (Pro Tools 0 & 0) for students who decide to proceed into the Certificate in Audio Engineering. One lecture hour and two lab hours per week for one AUDIO-57E PRO TOOLS 0 () This course focuses on the basic concepts and theory involved in using a digital audio workstation. Students will be able to set-up an Avid Pro Tools session for recording, importing audio, editing, recording MIDI, backing-up data, working with FireWire drives, and more. When taken with CC- 057E/AUDIO-057 (Pro Tools 0), these courses combined will serve as an equivalent to AUDIO-03 (Pro Tools 0 & 0) for students who decide to proceed into the Certificate in Audio Engineering. One lecture hour and two lab hours per week for one AUDIO-05E LOGIC () Prerequisites: Students enrolled in Entertainment Industry Studies Programs must obtain permission from the Audio Engineering Program Chair for enrollment. This course introduces songwriters, composers, producers and sound engineers to the primary features and basic user interface of Logic Pro X. Upon completion, students will understand the process of creating an actual song. Preproduction using Apple Loops, recording/editing audio, arranging of tracks and produce drum beats with a virtual drummer will be touched on. This course covers the requirements needed (Part of ) to take the Apple Certified Pro Level One exam in Logic Pro X. This course is equivalent to AUDIO-05E (Logic ). Two lab hours per week for one AUDIO-5E LOGIC () Prerequisites: CC/AUDIO-05E Logic. This course is a continuation of the Logic Pro X user interface for songwriters, composers, producers and sound engineers. Upon completion, students will understand how to use Logic Pro s comprehensive array of software instruments, arranging of MIDI sequences, as well as editing with Flex Time & Pitch, digital effects processing, mixing, automation and troubleshooting. This course covers the requirements needed to take the Apple Certified Pro Level One exam in Logic Pro X (Part of ). This course is equivalent to AUDIO-5E (Logic ). Two lab hours per week for one NON-MAJOR INSTRUMENT STUDY // COMMON COURSE See instrument program course offerings for additional entrylevel instrument electives. CC-0E INTRODUCTION TO GUITAR () Non-guitar majors learn simple note reading, fingerings, and accompaniment patterns. Great tool for singer-songwriters. Not available to Guitar Program students. One hour per week for one CC-03E INTRODUCTION TO VOICE () Non-vocal majors learn to develop techniques for proper breathing, pitch accuracy, and improving range while protecting their vocal instrument with application to popular styles in both lead and backup vocal roles. Not available to Vocal Program students. One lecture hour per week for one CC-05E INTRODUCTION TO BASS () Non-bass majors learn how to play appropriate basslines using correct playing techniques and understanding the role of the bassist in a band. Covers all essentials of the bass for the non-bassist. Not available to Bass Program students. One hour per week for one CC-06E HAND PERCUSSION () An introduction to percussion techniques, including hand coordination and rhythm as they relate to various types of Latin hand percussion instruments with application to Latin and pop music. Not available to Drum Program students. One hour per week for one CC-07E INTRODUCTION TO DRUMSET () An introduction to the fundamentals of the drum set for non- Drum Program performance students. This course covers drum set components, counting techniques, basic grips, and simple reading and notation. Additionally, students will perform common grooves such as 8th note-based rock, 6th note-based funk, 8th note-based jazz and shuffles, and bossa nova. Finally, the basics of brushes and rods will be covered with students performing grooves typical to the use of brushes and rods. Not available to Drum Program students. One lecture hour per week for one COURSES 70 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

88 COURSES COURSE DESCRIPTIONS ELIGIBILITY FOR ADMISSION TO MUSICIANS INSTITUTE In addition to the eligibility requirements listed for each program offered by the college, Musicians Institute admits only those individuals who, in the opinion of the college, have the capacity and ability to function and comport themselves appropriately in a college learning environment, and to benefit from, successfully meet, and/or perform to all of the requisites and standards required to complete a program as outlined in this catalog. TECHNICAL AND PERFORMANCE REQUIREMENTS As noted above, Musicians Institute may only admit individuals who, in the estimation of the College, have a reasonable prospect of benefiting from and completing the programs as they are structured. In relation to this condition of admission, and to ensure that all students who are admitted are capable of meeting the requirements of the programs, the College considers technical and performance capacities as relevant to ethical and appropriate admissions standards. This standard is not intended to be exclusive; rather it is designed to ensure that all students admitted to the programs are able to advance through and receive benefits from the programs as they are designed. Technical and Performance Requirements vary by program based on the requirements of the discipline/field of study/profession. Adaptive equipment and reasonable accommodations are acceptable insofar as these do not substantively alter the program. Technical and Performance Requirements may include (but are not limited to): A working command of the English language; Reading comprehension skills sufficient to read and comprehend curriculum, literature, communications, etc.; Sufficient verbal and language skills to support communication and collaboration with student, faculty, staff and others at the College; Communication skills sufficient to perform and engage in required tasks and assignments; Ability to understand and follow both written and oral instructions; Ability to complete requirements for college level classes; Ability to sustain cognitive integrity in areas of short and long-term memory, areas of written documentation, and follow through of responsibilities (adaptive equipment and reasonable accommodations are acceptable insofar as these do not alter the program in a substantive manner); Visual acuity sufficient to ensure the safe and appropriate performance of all tasks and requirements of the program to standards (adaptive equipment and reasonable accommodations are acceptable insofar as these do not alter the program in a substantive manner); Aural/auditory acuity sufficient to distinguish various sounds and noises to ensure safe and appropriate performance of all tasks and requirements of the COURSE DESCRIPTIONS program to standards (adaptive equipment and reasonable accommodations are acceptable insofar as these do not alter the program in a substantive manner); Vocal capacity sufficient to ensure safe and appropriate performance of all tasks and requirements of the program to standards (adaptive equipment and reasonable accommodations are acceptable insofar as these do not alter the program in a substantive manner); Sufficient dexterity to perform manual skills related to music performance, instrument and gear manipulation, and related activities; Sufficient physical capacity to lift, hold, carry items of differing weights and sizes; Ability to demonstrate and maintain organizational skills, time management and professional respect and conduct as a human service student, either at practicum site, or in the community; Computer and device literacy sufficient to allow for interaction with MI curricula, communications, and learning management systems; Other capacities and skills as related to specific requirements of the discipline, field, profession Questions about Technical and Performance Requirements may be submitted to the Office of Admissions. CERTIFICATES ENTERTAINMENT INDUSTRY STUDIES Audio Engineering Audio Engineering // Post-Production Audio Audio Engineering // Live Audio Production DJ Performance & Production Guitar Craft Guitar Craft // Acoustic Guitar Design Independent Artist Development Music Business Music Business // Entrepreneur PERFORMANCE STUDIES Bass Drum Guitar Keyboard Technology Vocal ELIGIBILITY REQUIREMENTS All eligibility, application, registration, placement and orientation requirements for the four-quarter/60 credit-unit Certificate in Performance are identical to those described for Associate of Arts Degree in Performance. AWARD OF CREDIT FOR PRIOR EXPERIENTIAL LEARNING. Musicians Institute does not award program credit for prior COURSES 7 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISITWWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS

89 GENERAL ADMISSIONS experiential learning. APPLICATION PROCESS: CERTIFICATE Send all of the following items together by mail along with any additional items required by the program to which you are applying (see below): Completed application form. $00.00 USD application fee. High school diploma or proof of G.E.D. equivalent from an accredited institution (please provide an official English translation if the original is not in English). TRANSFERRING FROM AN AA DEGREE PROGRAM TO A PERFORMANCE CERTIFICATE PROGRAM Currently enrolled students seeking to transfer from an Associate of Arts Degree Program to a Performance Certificate Program with the same instrument major must complete and submit a Petition for Transfer to the Registrar s office. Students who have withdrawn or been terminated from an Associate of Arts Degree Program and are seeking to transfer to a Performance Certificate Program within the same instrument major must contact the Student Records office for instructions. For information on transferring to a different instrument major, contact the Admissions Office. Note: See the Notice Concerning Transferability of Credits and Credentials Earned at Musicians Institute under Additional Information. CERTIFICATE PROGRAMS - SPECIFIC REQUIREMENTS AUDIO ENGINEERING Application: In addition to the items listed above under All Programs, you must pass a written Scholastic Level Exam (see application form for details). Placement: If you are admitted into an Audio Engineering Certificate Program, you will be given a placement evaluation as part of the registration process. The evaluation will measure your current level of knowledge and experience in several fundamental areas. Placement evaluations will take place during registration week and you will not be scheduled for classes until your evaluation is complete. In some cases, a student may be recommended for advanced placement in classes in which he or she may already be proficient. Students already enrolled in the Certificate in Audio Engineering Program may apply for transfer to the Certificate in Audio Engineering (Post-Production Audio) or Certificate in Audio Engineering (Live Audio Production) Emphasis Programs. The applicant s academic progress in the current program will also be considered as a factor in determining eligibility for transfer. GUITAR CRAFT In addition to the items listed above under All Programs, you must pass a written Scholastic Level Exam and also submit a recording that includes a recording of both a musical audition and your speaking voice with a short narrative in English telling us why you want to attend Musicians Institute (see application form for details). INDEPENDENT ARTIST DEVELOPMENT & DJ PERFORMANCE & PRODUCTION In addition to the items listed above under All Programs, you must also submit an original recording (see application form for details). ASSOCIATE DEGREES ASSOCIATE OF ARTS IN PERFORMANCE Bass Drum Guitar Keyboard Technology Vocal ASSOCIATE OF ARTS PERFORMANCE // COMBINED EMPHASIS Combined Emphasis in Primary Instrument Plus One Non- Performance Emphasis: Audio Engineering DJ Performance & Production Guitar Craft Independent Artist Development Music Business The Associate of Arts Degree in Performance is a terminal/ occupational degree. Credits earned in this type of program may not transfer to all baccalaureate programs. Policies regarding the transfer of occupational degrees or acceptance of transfer course credit vary by institution. MI cannot guarantee the transferability of credit except between its own degree programs (See Transfer credits from MI Associate of Arts to Bachelor of Music Program). ASSOCIATE OF SCIENCE MUSIC BUSINESS The 90-credit ASMB degree provides students with indepth training in a diverse range of subjects encountered in today s music industry. In addition to courses in entertainment law, music publishing and licensing, record labels, distribution, and personal management, our Associate of Science degree also includes music industry history, international music publishing, accounting and finance, marketing, and visual media. During the course of six quarters, students partake in two internships as well as music courses covering song structure, recording & production, and critical listening skills. MI Music Business instructors share real-world experience earned from working with major artists & record label executives; music supervisors for film & TV; publishing consultants; and media outlets. Our Associate of Science in Music Business degree prepares students to work as music industry professionals in various areas, including (but not limited to) record labels, music publishing, artist management, touring, and entrepreneurship. The Associate of Science in Music Business Degree is a terminal/occupational degree. Credits earned in this type of program may not transfer to all baccalaureate programs. Policies regarding the transfer of occupational degrees or acceptance of transfer course credit vary by institution. MI cannot guarantee the transferability of credit to other institutions. ELIGIBILITY REQUIREMENTS The admissions procedure is selective and based on factors including: Recorded audition or written test (where applicable) Written application Prior experience Evidence of desire for career advancement and commitment to an intensive educational program Each applicant is individually reviewed, taking into consideration his or her experience, achievements, aptitude, attitude, and potential for growth. Prospective students still enrolled in high school are encouraged to follow a college preparatory curriculum and to take as many music and music-related courses as are practical prior to attending MI. Students applying for admission to an Associate of Arts Degree Program (Combined Emphasis) must meet the eligibility requirements of both the instrument study portion (see AA Degree requirements) and the additional emphasis portion (see Entertainment Industry Certificates). All other application, registration, placement, and orientation requirements are identical to those described for the Associate of Arts Degree in Performance. APPLICATION PROCESS: ASSOCIATE DEGREES Please send all of the following items together by mail or (additional items are also required; check below under the specific program to which you are applying): Completed application form. $00.00 USD application fee. High school diploma or proof of GED equivalent from institution with recognized accreditation (please provide an official English translation if the original is not in English). An audio recording of yourself playing or singing (see application for details, does not apply to Associate of Science in Music Business). APPLICATION REVIEW AND NOTIFICATION Class sizes are limited and placement priority is given to students in the order of acceptance. Fully completed applications are reviewed for acceptance on an ongoing ADMISSIONS basis. Accepted applicants will be notified by mail and/ or telephone. Applicants who are not accepted will be notified by mail. TUITION DEPOSIT (DOMESTIC STUDENTS ONLY) Upon acceptance to all degree and certificate programs, admitted students are required to submit a refundable deposit in the amount of $ USD to secure their placement (see Letter of Acceptance for details). The deposit is applied toward the first quarter s tuition and is completely refundable in the event of cancellation of enrollment (students are encouraged to submit the deposit along with the application fee). REGISTRATION Students are expected to arrive for registration and orientation during the two-week period prior to the start of classes. Students who fail to register at their assigned registration appointment will be assessed a late registration fee of $00.00 USD. Applicants may register after the first week of classes only with permission from the program director. Students who need housing/roommate assistance should arrive at least four weeks prior to the start of classes. Daily housing meetings and new student tours will take place during registration week. PLACEMENT EVALUATION After you are admitted to the Associate of Arts Degree Program, you will be given a placement evaluation that will measure your current level of knowledge and experience in several fundamental musical areas. Placement evaluations take place during registration week and you will not be scheduled for classes until your evaluation is complete. In some cases, a student may be recommended for advanced placement in courses in which he or she may already be proficient. Does not apply to Associate of Science Degree. NEW STUDENT ORIENTATION Orientation will be held on the Thursday prior to the start of classes. During this time, you will learn about school policy and procedures, Student Affairs, LPW sign-ups and other school-related topics. BACHELOR OF MUSIC DEGREES BACHELOR OF MUSIC IN COMPOSITION (Scoring For Visual Media Program) BACHELOR OF MUSIC IN PERFORMANCE (Contemporary Styles) Bass, Drum, Guitar, Keyboard, Vocal GENERAL ADMISSIONS OFFICE MUSICIANS INSTITUTE HOLLYWOOD BOULEVARD, HOLLYWOOD, CA THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. PHONE: (800) ALL-PLAY ADMISSIONS@MI.EDU 75

90 GENERAL ADMISSIONS ELIGIBILITY REQUIREMENTS. Satisfactory completion of an accredited secondary school program (high school) or its equivalent. Students are advised to follow a college preparatory curriculum with four years of English, three years of Social Sciences and as many music courses as are practical.. At least three years of study on the primary instrument (Bass, Guitar, Keyboard, Drums, or Vocal). 3. Music reading ability in both treble and bass clef.. Knowledge of and interest in contemporary styles. 5. Working knowledge of keyboard harmony. APPLICATION PROCESS: BACHELOR OF MUSIC The admissions procedure for Bachelor of Music consists of three parts:. Completed application for Harmony, Theory and Ear Training form with all required documents. Written entrance test 3. Complete the following for the program to which you are applying: a. Bachelor of Music in Performance Applicants: Video Performance Test. b. Bachelor of Music in Composition Applicants: Audio recording (digital format) of two examples of music in any style written by the applicant (solo or ensemble, instrumental or vocal) accompanied by notation (lead sheet, score or piano reduction). After your written application is received, reviewed, and approved, you will receive a written Bachelor of Music entrance test by mail. This must be completed and returned along with an unedited video recording of yourself performing specific instrumental playing requirements (details provided with entrance test). Please send all of the following items together by mail or Completed application form. High school diploma or equivalent from an accredited institution. Please provide an official English translation if the original is not in English $00.00 USD application fee. A 50-word written essay describing why you want to attend Musicians Institute. Domestic students: SAT or ACT scores (from within the previous five years); SAT minimum: 500 Critical Reading, 500 Mathematics, 500 Writing; ACT minimum:. (SAT/ ACT scores are not required if applicant has satisfactorily completed at least one quarter of postsecondary schooling, including MI, at -units per quarter minimum). Two letters of recommendation from instructors or professors you have studied with for at least one year, including one recommendation in music and one recommendation in academic areas. Transfer credit information from prior college or university (if applicable). INTERNATIONAL APPLICATION PROCESS: BACHELOR OF MUSIC The $00.00 USD application fee, which must be submitted as an International Money Order, Postal Money Order, Bank Wire Transfer, or Credit Card for U.S. funds. If a student s principal language is not English, he or she must present verification of English language proficiency through a Test of English as a Foreign Language (TOEFL), International English Language Testing System (IELTS), or the Pearson Test of English, Academic (PTEA). The minimum TOEFL acceptance score is 6 (Internet-based), 500 (paperbased) or 73 (computer-based). The minimum test score on the IELTS is a score of 6. The minimum acceptance score on the PTEA is 5. TOEFL/IELTS/PTEA test scores are not required of international applicants if either of the following conditions are met: Student has graduated from an MI AA Program Student is a Foreign National. Resident Foreign National applicants must take either ESL or SAT/ACT tests for admittance to the college. A non-immigrant student F- Visa is required for all degree programs (see International Student Information for details). For more information, see the International Student Information section. ADMISSIONS DEADLINES AND NOTIFICATION The Admissions Department must receive a completed written application, plus all official documents, required materials, and completed Harmony, Theory & Ear Training and Performance DVD tests by the following dates: NEW STUDENTS FALL: July 3 WINTER: October 30 SPRING: February SUMMER: May Fully completed applications will be reviewed with placement priority given to students in the order of accepted application. Accepted applicants will be notified by mail and telephone. Applicants who are not accepted will receive notification by mail only, along with the specific reasons for non-acceptance. TUITION DEPOSIT (DOMESTIC STUDENTS ONLY) Upon acceptance to the Bachelor of Music program, students are required to submit a refundable deposit in the amount of $ USD to secure their placement (see Letter of Acceptance for details). The deposit is applied toward the first quarter s tuition and is completely refundable in the event of cancellation of enrollment. REGISTRATION Students are expected to arrive prior to the start of classes for registration and orientation. Late registration will be held until Friday of the first week of classes. Registration after the first week of classes is by permission only. Students who need housing/roommate assistance should arrive at least two weeks prior to the start of classes. Daily housing meetings and new student tours will take place during registration week. PLACEMENT EVALUATION After you are accepted by the Bachelor of Music Program, you will be given a placement evaluation to determine your experience level in several fundamental areas of music and musicianship. In some cases, you may receive advanced placement in certain subjects in which you may already be proficient. Placement evaluations will take place on the Wednesday of Week. Students will not be scheduled for classes until their evaluations are complete. NEW STUDENT ORIENTATION Orientation will be held on the Thursday prior to the start of classes. During this meeting, you will learn about school policy and procedures, Student Affairs, Juries and other school-related topics. GENERAL EDUCATION TRANSFER CREDITS The two main components of the Bachelor of Music Degree are the music coursework and the general education requirements. To fulfill the general education degree requirements, students must complete 5-quarter units or 30 semester-units in liberal arts subjects. For this purpose, Musicians Institute has a partnership with Los Angeles City College (LACC). All required general education courses, including a wide selection of subjects in English, mathematics, natural science, social science and humanities are offered on the nearby LACC campus. MI students may register for appropriate general education courses in consultation with LACC advisors, with support and coordination from Musicians Institute. LACC is accredited by the Western Association of Schools and Colleges (WASC). See Bachelor of Music Degree requirements in this catalog for a summary of required general education credit distribution. Students may also transfer up to the maximum number of required general education units from institutions other than LACC, pending review and approval by the Dean. Acceptance of coursework will be based on standards set by the National Association of Schools of Music and Musicians Institute, as well as comparisons to offerings from LACC. MUSIC TRANSFER CREDITS The maximum number of transfer credits that may be applied to satisfy music coursework requirements varies according to the student s initial placement in the areas of Private Lessons, Ensembles, Harmony, Theory, Ear Training, and Reading. In no case may the total number of transfer credits (music and general education combined) exceed the maximum allowed under the Residency/Transfer of Credit Requirement (see Policies). APPLYING FOR TRANSFER CREDIT Provide official transcripts and course catalogs of all college studies that are relevant to the desired transfer credits to: Musicians Institute Office of Admissions 675 Hollywood Boulevard Hollywood, CA 9008 ADMISSIONS Transfer students who enter Musicians Institute with missing official transcripts or classes in progress must meet with the Dean of Baccalaureate Programs during their first quarter to confirm the transfer of those credits. The Admissions Office must receive all transcripts before the end of the student s first quarter of enrollment at Musicians Institute. Note: see the Notice Concerning Transferability of Credits and Credentials Earned at Musicians Institute under Additional Information. ABILITY TO BENEFIT NOTICE Musicians Institute does not participate in Ability to Benefit Programs. As such, all students must meet minimum admissions requirements. REQUIREMENTS FOR MI ASSOCIATE DEGREE STUDENTS APPLYING TO THE BM PROGRAM Applicants who complete an Associate of Arts in Performance in Bass, Guitar, Drums, Keyboard Technology, or Vocals at Musicians Institute with a minimum cumulative GPA of 3.30, while meeting all other Bachelor of Music admission requirements, will be admitted to the Bachelor of Music Program. Each admitted student will be given a placement test in Harmony, Theory and Ear Training and placed at the appropriate level in those subjects (in some cases, remedial coursework may be required). Students who complete an Associate of Arts Degree at MI with a GPA lower than 3.30, or students who complete an Associate of Arts Degree (Combined Emphasis), will be required to complete additional tests as part of the Bachelor of Music application process. Acceptance for admission will be subject to meeting minimum test requirements. TRANSFER CREDITS FROM MI ASSOCIATE TO BM PROGRAM Applicants who have completed MI s Associate of Arts Degree in Performance (Bass, Guitar, Keyboard Technology, Drum, or Vocal), and have been accepted to the Bachelor of Music Program, may transfer the following credits (for passed courses) toward their Bachelor of Music Degree GENERAL ADMISSIONS OFFICE MUSICIANS INSTITUTE HOLLYWOOD BOULEVARD, HOLLYWOOD, CA THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. PHONE: (800) ALL-PLAY ADMISSIONS@MI.EDU 77

91 GENERAL ADMISSIONS completion requirements: Instrument Study: credits Additional credits from upper-level Associwate s classes may be transferred based on results of Bachelor of Music entrance evaluation. These credits may include: Private Lesson: up to 8 credits Ensembles: up to credits Electives: up to 9 credits Transfer credits for students who are admitted to the Bachelor of Music Program after completing the Associate of Arts Performance Degree will be evaluated on a courseby-course basis. NON-CERTIFICATE PROGRAMS SUMMER SHOT MUSIC CAMP One-Week Courses in Performance Studies (Bass, Drums, Guitar, Keyboard Technology or Vocal) and Entertainment Industry Studies (Independent Artist, Recording, Guitar Building and more). ELIGIBILITY: There are no specific academic entrance requirements for Summer Shot. Please visit summershot.mi.edu for more information. HOW TO APPLY TO SUMMER SHOT Please send the following items together by mail or Completed application form $50.00 USD application fee SUMMER SHOT SCHEDULING/REGISTRATION/ ORIENTATION: Summer Shot students are expected to arrive prior to the start of classes for Scheduling, Registration, and Orientation. Students who need housing and/or roommate assistance should arrive at MI as early as possible prior to the start of classes. For updated information, visit summershot.mi.edu. MI SELECT & MI SELECT EXPRESS PROGRAMS (Avocational Non-certificate training in music) Bass, Drum, Guitar, Keyboard Technology, Vocal ELIGIBILITY There are no specific academic entrance requirements for the MI Select & MI Select Programs. Each applicant is individually reviewed, taking into consideration his or her experience, past achievements, aptitude and potential for growth. APPLICATION PROCESS: MI SELECT & MI SELECT EXPRESS Please send the following items together by mail or Completed application form. $00.00 USD application fee. APPLICATION REVIEW AND NOTIFICATION Class sizes are limited and placement priority is given to students in the order of accepted application. Fully completed applications are reviewed for acceptance on an ongoing basis. Accepted applicants will be notified by mail or telephone. Applicants who are not accepted will be notified by mail or telephone. SCHEDULING/REGISTRATION/ORIENTATION MI Select students are expected to arrive prior to the start of classes for Scheduling, Registration, and Orientation. Students who need housing and/or roommate assistance should arrive at MI as early as possible prior to the start of classes. PRO TOOLS CERTIFICATION The Avid Pro Tools certification courses are nonaccredited courses designed for those who wish to acquire their Avid User and/or Operator Certification through weekend classes at Musicians Institute in Hollywood, CA. ELIGIBILITY: The following prerequisites apply to those applying for the Pro Tools Certification courses: Minimum Age: 6 (High School diploma/ged is not required) Basic computer knowledge including the ability to use a keyboard, mouse and an Apple or Windows based operating system. Stereo Headphones (Student will need to bring to the first day of class) HOW TO APPLY Please visit: protools.mi.edu. Complete the application form under the Sign Up Tab.. $00.00 (USD) application fee is required. PRO TOOLS SCHEDULING/REGISTRATION/ ORIENTATION: Pro Tools students are expected to arrive prior to the start of classes for Scheduling, Registration, and Orientation. Students who need housing and/or roommate assistance should arrive at MI as early as possible prior to the start of classes. For updated information, visit protools.mi.edu. INTERNATIONAL STUDENT INFORMATION Musicians Institute is authorized under Federal law to enroll non-immigrant Foreign National students. Musicians Institute follows a policy of equal opportunity in all of its educational activities, admissions and employment; and does not discriminate because of race, color, national origin, religion, sex, sexual orientation, age, physical handicap, or marital status. MI s International Student Office assists international students in immigration and personal matters. A few important regulations applying to all international students include: APPLICATION FEES Any application fees must be submitted as an International Money Order, Postal Money Order, Bank Wire Transfer, or Credit Card for U.S. funds. SUFFICIENT FUNDS All international students must submit an official letter from the student s, parent s or sponsor s bank certifying that there are enough funds available for payment of tuition and living expenses during the study period. All funds sent to MI must be in U.S. dollars. ENGLISH LANGUAGE FLUENCY Notice to students for whom English is a second or other language: Musicians Institute does not provide English Language courses or support. All courses and correspondence takes place in English. As such, a general fluency in English is necessary in order to benefit from your time at MI. ENGLISH DOCUMENTS All documents must be in English or accompanied by a certified English translation of the document. ENGLISH LANGUAGE PROFICIENCY English Language Proficiency tests (TOEFL, IELTS, PTEA) are only required for admission to our Bachelor Program; however, all classes are taught in English and students must have a working competence in the English language in both spoken and written communication at the level of a Graduate of an American high school as demonstrated by the possession of a high school diploma or its equivalent, GED, or passage of a high school proficiency exam. STUDENT VISAS A non-immigrant F- student visa is required for all programs except MI Select Programs. Musicians Institute will assist students in obtaining such visas and will confirm student status with inquiring agencies. An I-0 immigration form will be issued to the student upon meeting all entrance and financial requirements. The student must take the I-0 form to the U.S. Embassy or Consulate in his or her country of residence to obtain a student visa in order to enter the United States. FULL-TIME STATUS All international students must maintain full-time status in order to satisfy student visa requirements. ADDITIONAL INFORMATION NOTICE CONCERNING TRANSFERABILITY OF CREDITS AND CREDENTIALS EARNED AT MUSICIANS INSTITUTE The transferability of credits you earn at Musicians Institute is at the complete discretion of an institution to which you may seek to transfer. Acceptance of the degree, diploma, or certificate you earn in the educational program is also at the complete discretion of the institution to which you may seek to transfer. If the credits, degree, or certificate that you earn at this institution are not accepted at the institution to which you seek to transfer, you may be required to repeat some or all of your coursework at that institution. For this reason, you should make certain that your attendance at this institution will meet your educational goals. This may include contacting an institution to which you may seek to transfer after attending Musicians Institute to determine if your credits, degree, or certificate will transfer. DISCLAIMER While Musicians Institute provides no guarantee that employment will result from attending or completing any program offered by the institution, we are dedicated to assisting students in finding professional opportunities. For more information on the Artist Services department in the Artist Support Center, visit APPROVED PROGRAMS NOT OFFERED FOR THIS CATALOG YEAR Associate of Science in Guitar Electronics, Amplification and Effects Certificate in Music Video, Film and Television Production ADMISSIONS GENERAL ADMISSIONS OFFICE MUSICIANS INSTITUTE HOLLYWOOD BOULEVARD, HOLLYWOOD, CA THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. PHONE: (800) ALL-PLAY ADMISSIONS@MI.EDU 79

92 TUITION & FEES TUITION & FEES TUITION QUARTER PER QUARTER TOTAL CREDITS PER CREDIT TOTAL FEES APPLICATION EQUIPMENT COST (Non-Refundable) MATERIALS OTHER FEES PER QUARTER TECHNOLOGY FEE TOTAL GENERAL CERTIFICATE PERFORMANCE $7, $ $3, AUDIO ENGINEERING $7, $ $5, AUDIO ENGINEERING // POST PRODUCTION 3 $7, $ $3, AUDIO ENGINEERING // LIVE SOUND 3 $7, $ $3, DJ PERFORMANCE & PRODUCTION $7, $ $5, INDEPENDENT ARTIST $7, $ $5, MUSIC BUSINESS $7, $ $5, MUSIC BUSINESS // ENTREPRENEUR 3 $7, $ $3, GUITAR CRAFT $7, $ $5, GUITAR CRAFT // ACOUSTIC DESIGN 3 $7, $ $3, ASSOCIATE DEGREES ASSOCIATE OF ARTS IN PERFORMANCE 6 $7, $ $7, // COMBINED EMPHASIS 6 $7, $ $7, ASSOCIATE OF SCIENCE IN MUSIC BUSINESS 6 $7, $ $7, CERTIFICATE PERFORMANCE $00.00 $ * $5.00 $33.00-$ AUDIO ENGINEERING $00.00 $0.00 $70.00* $5.00 $,3.00 AUDIO ENGINEERING // POST PRODUCTION $00.00 $ $,07.00* $5.00 $, AUDIO ENGINEERING // LIVE SOUND $00.00 $95.00 $,06.00* $5.00 $, DJ PERFORMANCE & PRODUCTION $00.00 $5.00* $5.00 $.00 DJ PERFORMANCE & PRODUCTION $89.00 INDEPENDENT ARTIST DEVELOPMENT $00.00 $ * $5.00 $.00-$98.00 MUSIC BUSINESS $00.00 $5.00 $90.00 MUSIC BUSINESS // ENTREPRENEUR $00.00 $5.00 $35.00 GUITAR CRAFT $00.00 $00.00 $5.00 $ GUITAR CRAFT // ACOUSTIC DESIGN $00.00 $00.00 $5.00 $55.00 ASSOCIATE DEGREES ASSOCIATE OF ARTS IN PERFORMANCE $00.00 $ * $5.00 $.00-$78.00 ASSOCIATE OF SCIENCE IN MUSIC BUSINESS $00.00 $5.00 $ GENERAL BACHELOR OF MUSIC ALL STUDENTS $6,936.00* 35 $578.00* $78,030.00* WITH MINOR $6,80.00** 60 $567.00** $90,70.00** GENERAL EDUCATION CREDITS*** (varies) (varies) 5 (varies) (varies) NON-CERTIFICATE MI SELECT PROGRAM**** $7, N/A N/A $7, MI SELECT EXPRESS PROGRAM**** $, N/A N/A $, BACHELOR OF MUSIC PERFORMANCE MAJOR $00.00 $75.00 $,6.00** $5.00 $,93.00 W/MINOR IN AUDIO PRODUCTION $00.00 $5.00 $,70.00** $5.00 $,77.00 W/MINOR IN MUSIC INDUSTRY STUDIES $00.00 $,6.00** $5.00 $,96.00 COMPOSITION MAJOR $00.00 $75.00 $,6.00-$,66.00 $5.00 $,3.00-$,33.00 NON-CERTIFICATE MI SELECT / MI SELECT EXPRESS $00.00 $5.00 $5.00 TUITION DEPOSIT: $300.00; All programs are refundable. NOTE: Published program lengths are based on optimal course load at credits per quarter for Baccalaureate Programs and 5 credits per quarter for all other programs. Please see Enrollment Status for further information; GE units average 3.75 per Tuition costs vary by quarter based on number of credits. * Average per program/discipline. Actual quarter amounts may vary. ** Based on per-unit cost of Major and minor courses. Actual quarter amounts may vary. *** GE Units are offered by arrangement with Los Angeles City College; tuition rates vary. Contact LACC for current tuition information. **** Courses taken during an MI Select or MI Select Express session do not earn course credit. Attendance or completion of any course does not guarantee subsequent advanced placement in a Certificate or Degree program. MI Select quarter course load equivalent to 5-credit Certificate/AA course load for one NOTES: Tuition and fees for all programs are charged on a quarterly basis and are due at the time of registration for each quarter of instruction. All programs require students to source their own materials, software and equipment. Visit for a complete list of these required items. Students are not allowed to enter MI facilities or attend classes until required tuition and fees are paid in full. See Student Billing department for current information. Costs vary according to manufacturer prices and features. Please contact our Admissions Department for details on the fees pertaining to your specific start date. * Audio Engineering/DJ Couse Facility Fee. ** Arranging + Audio Engineering Course Facility Fees. Arranging/Orchestration Fee (depending on venue availability). Multiply technology fee by number of quarters referenced on the previous page. 80 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 8

93 GENERAL TUITION & FEES STATE OF CALIFORNIA STUDENT TUITION RECOVERY FUND All-Student Fees (Applies to all students in all programs): State of California Student Tuition Recovery Fund (STRF) All students are mandated by the State of California to pay $0.00 per $,000 of Total Program Cost. Please refer to tuition table for program costs. The State of California created the Student Tuition Recovery Fund (STRF) to relieve or mitigate economic losses suffered by California students while attending certain schools regulated by the Bureau for Private Postsecondary Education (BPPE). This means it is a state requirement that a student who pays his or her tuition is required to pay a state-imposed assessment for this Student Tuition Recovery Fund. You must pay the state imposed assessment for the Student Tuition Recovery Fund (STRF) if all of the following applies to you:. You are a student in an educational program, who is a California resident, or are enrolled in a residency program, and prepay all or part of your tuition either by cash, guaranteed student loans, or personal loans, and. Your total charges are not paid by any third-party payer such as an employer, government program or other payer unless you have a separate agreement to repay the third party. You are not eligible for protection from the STRF and you are not required to pay the STRF assessment if either of the following applies:. You are not a California resident, or are not enrolled in a residency program, or. Your total charges are paid by a third party, such as an employer, government program or other payer, and you have no separate agreement to repay the third part. You may be eligible for STRF if you are attending a California College, prepaid tuition, paid the STRF assessment, and suffered an economic loss as a result of any of the following:. The school closed before the course of instruction was completed.. The school s failure to pay refunds or charges on behalf of a student to a third party for license fees or any other purpose, or to provide equipment or materials for which a charge was collected within 80 days before the closure of the school. 3. The school s failure to pay or reimburse loan proceeds under a Federally guaranteed student loan program as required by law or to pay or reimburse proceeds received by the school prior to closure in excess of tuition and other costs.. There was a decline in the quality of the course of instruction within 30 days before the school closed or, if the decline began earlier than 30 days prior to closure, the period of decline determined by the Bureau. 5. An inability after diligent efforts to prosecute, prove, and collect on a judgment against the institution for a violation of the Act. However, no claim can be paid to any student without a social security number or a taxpayer identification number. Students who have exhausted all other possible ways to recover lost tuition expense may file STRF claim application. You may download a STRF claim application by visiting out website ADMINISTRATIVE FEES Re-Application Fee $50 Late Registration Fee $00 Credit by Examination/Test Out Fee $0 per course Lost or Renewed Student ID Card Fee $0 Transcript Request Fee $5 Rushed Transcript Fee $0 COURSE-RELATED FEES: Some courses require additional fees for supplies and/or equipment. Course-related fees must be paid at the time of Registration. Courses with related fees are noted under Course Descriptions. Fees may change without notice; current information will be provided at the time of registration. BOOKS AND MATERIALS BOOKS, DEVICES AND SUPPLIES BYOD POLICY Each student at Musicians Institute must have a device that allows for access to our Learning Management System (LMS) and corresponding materials. This is a requirement of enrollment at Musicians Institute. Musicians Institute has made every effort to ensure that this material is available on a multitude of different devices/operating systems. As such, you will need a device that meets the following specifications below: GENERAL REQUIREMENTS: A smart phone, tablet or laptop computer Internet connection for device/computer (wi-fi or ethernet recommended). Built-in or external speakers, headphones, or similar for audio playback. Apple Devices: ipad (ipad or newer recommended*) ipad Mini (Retina display suggested*) iphone (s or newer recommended*) ios 7 or above is recommended. *All device versions are technically compatible with the delivery application. However, older devices may be limited by memory and CPU requirements of a given book/file size. It is likely that students with ios devices pre-ipad /iphone will experience diminished functionality of the delivery application. Android Devices: Phone & tablet devices utilizing the Android OS are compatible with the delivery application. Due to the wide variety of manufacturers and models, a standardized list of actual devices cannot be issued. Android OS. or above is recommended. Desktop Readers (Mac and Windows): These desktop reader applications require Adobe AIR to be installed and current on the machine. All tech specifications are related to same minimum requirements for Adobe AIR installation: html. Windows.33GHz or faster x86-compatible processor, or Intel Atom.6GHz or faster processor for netbook class devices Microsoft Windows Vista Home Premium, Business, Ultimate, or Enterprise (including 6 bit editions) with Service Pack, Windows 7, or Windows 8 Classic 5MB of RAM (GB recommended). Mac OS Intel Core Duo.83GHz or faster processor Mac OS X v0.7, v0.8, or v0.9 5MB of RAM (GB recommended) Questions about your device s specifications and requirements may be directed to Instructional & Information Technology Services at helpdesk@mi.edu. For all other inquires, please contact your Program Chair or the Student Affairs Department at studentaffairs@mi.edu. We have made every effort to ensure that this material is available on a multitude of different devices and operating systems. Please see for details on your device s requirements. Much of MI s course and curricular content is delivered solely in an electronic format, so each student must possess a device that allows for access to our Learning Management System (LMS) and corresponding course materials. This is a requirement of enrollment at Musicians Institute. For a complete list of all books/materials, as well as prices and purchasing information, please visit admissions-financial-aid/tution-fees/ and click on the Textbook and Equipment header. BACHELOR DEGREE PROGRAM: The cost of books and supplies averages approximately $35 per quarter for students enrolled in a full-time course of study. Actual costs will vary depending on specific courses and credit loads. TUITION & FEES COST OF LIVING The cost of living while attending MI varies with each student s personal needs. Below are the maximum living expense budgets per month for the academic year,as prescribed by the California Student Aid Commission, based on average costs statewide. To arrive at a total cost for your program, multiply the monthly costs by the number of months in that program (for example, AA Degree = 8 months). Student living at home with parents (per month): Tuition varies by program Books & Supplies $99 Food & Housing $55 Transportation $3 Personal/Miscellaneous $353 Total (not including tuition): $,7 Student living off campus (per month): Tuition varies by program Books & Supplies $99 Food & Housing $,388 Transportation $38 Personal/Miscellaneous $3 Total (not Including tuition) $,09 GENERAL 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

94 GENERAL FINANCIAL AID FEDERAL AND STATE FINANCIAL ASSISTANCE PROGRAMS Student financial assistance is available to qualified U.S. citizens and eligible non-citizens with a valid high school diploma (or equivalent). Students applying for student financial assistance begin the application process by completing the Free Application for Federal Student Aid (FAFSA). The FAFSA may be completed online at FAFSA. ed.gov. Assistance with the FAFSA is provided to applicants by contacting the MI financial aid application coordinator. The U.S. Department of Education will send a Student Aid Report to students within two weeks of submitting the FAFSA. The information collected on the FAFSA is used to calculate a family s Expected Family Contribution (EFC). This contribution is utilized by the MI Financial Aid Office to determine each individual student s eligibility for federal and state financial aid. The Financial Aid Office receives notification of the Student Aid Report in the form of an Institutional Student Information Summary (ISIR). Applicants selected for a process called verification may be contacted by the Financial Aid Office to provide additional documents, such as student and/ or parent tax transcripts, verification of untaxed income, or benefits or other documents required to determine eligibility. Failure to do so will result in loss or non-receipt of aid. Student financial assistance is awarded for an academic year (up to three quarters). Students are required to re-apply to continue to receive assistance beyond their third quarter of attendance. Students that begin attending in the Spring Quarter are required to reapply for financial aid for continued eligibility in the Summer and Fall Quarters. A student s eligibility for need-based financial assistance is determined by subtracting the EFC from the cost of attendance for the course of study. A student s cost of attendance includes tuition and fees, books and supplies, housing, personal, and transportation costs. Charges for tuition and fees can be found in the Tuition & Fees section of this catalog. Other costs are based on a standard expense budget as determined by the California Student Aid Commission (current figures are also shown in the Tuition & Fees section of this catalog; these costs are subject to annual updates). Financial assistance funding is disbursed quarterly throughout the duration of the program of attendance. Funds from the various financial assistance programs (described herein) are not always disbursed in the same way or at the same time. Federal and State financial aid funds are sent to the school via electronic funds transfer. Students will be notified of Federal loan disbursements via or by U.S. Postal Service. Note: All Financial Aid forms, applications and other paperwork must be submitted no later than one week prior to registration. STUDENT LOAN RESPONSIBILITIES If a student obtains a loan to pay for an educational program, the student will have the responsibility to repay the full amount of the loan plus interest, less the amount of any refund. If the student has received federal student financial aid funds, the student is entitled to a refund of the moneys not paid from federal student financial aid program funds. FINANCIAL ASSISTANCE PROGRAMS OFFERED AT MUSICIANS INSTITUTE FEDERAL PELL GRANT The Pell Grant program is intended to help provide eligible students access to the post-secondary institution of their choice. Pell Grants are gifts from the Department of Education for undergraduate students that are not repaid. The Department of Education uses the information provided on the Free Application for Federal Student Aid (FAFSA) to determine eligibility for this grant. FEDERAL SUPPLEMENTAL EDUCATIONAL OPPORTUNITY GRANT (FSEOG) The FSEOG is for undergraduate students with exceptional need and is not repaid. This program is funded by the Department of Education and administered by the school s financial aid office. Please note that these funds are limited and awards are offered on a first come / first served basis. FEDERAL STAFFORD LOAN This is a low-interest, need-based loan designed to provide students with additional funds for college. All Federal Loans must be repaid. Qualified students may borrow up to $3,500 in a subsidized or unsubsidized loan (depending on the program) in their first academic year, $,500 in their second academic year, and $5,500 for the third and fourth academic years (for Bachelor students). Dependent students are also eligible for an additional unsubsidized loan of up to $,000. Independent students, or dependent students whose Parent Loan (PLUS) is denied, may borrow up to a maximum of $6,33 to $9,500 in a subsidized or unsubsidized loan (depending on the program) for the first academic year, up to $0,500 for the second academic year, and up to $,500 for the third and fourth academic years (for Bachelor students). At least $,000 to $7,000 of this amount must be from an unsubsidized Stafford loan. Repayment of a Stafford loan begins six months after the last date of attendance with a minimum monthly payment of $50.00 USD per loan. Borrowers are required to repay these loans even if they do not complete their education. For students who demonstrate a need for a subsidized Stafford Loan, the government will pay the interest on the loan during the time in school and the specified grace period. Students who have a calculated need (for less than the maximum on the Stafford Loan) may borrow the difference in an Unsubsidized Stafford Loan, and will be responsible for the entire interest on that portion of the loan. FEDERAL PARENT LOAN FOR UNDERGRADUATE STUDENTS (PLUS) PLUS loans are designed for qualified parents of dependent students who chose to borrow money to help pay for their son/daughter s education. Eligible PLUS borrowers may borrow up to the yearly cost of education, minus other financial aid awarded to the student. PLUS loans are creditbased and require approval by the Department of Education. These loans must be repaid. Repayment on the PLUS loan begins within 30 to 60 days from the final disbursement. The amount of the monthly payment will vary with the amount borrowed, but will never be less than $50.00 USD per month. BORROWERS RIGHTS AND RESPONSIBILITIES Students borrowing a Stafford Loan have the right to a grace period before repayment period begins. The grace period begins after the last date of attendance or after a drop below half-time status as defined by the school. The exact length of the grace period will be shown on the promissory note provided by the Department of Education. Borrowers must be given a repayment schedule that specifies when the first payment is due as well as the number, frequency and amount of all payments Borrowers must be given a list of deferment and cancellation conditions. THE FOLLOWING LIST IS REQUIRED FOR ALL STUDENT LOAN BORROWERS By signing a promissory note, students agree to repay their loans according to the terms of the note. This note is a binding legal document. This commitment to repay includes repaying the loan even when the educational program is not completed, the student does not get a job after completing the program, or is dissatisfied with the program. Failure to repay the loan on time, or according to the terms in the promissory note, may result in loan default, which has very serious consequences. Loan payments must be paid even if the student did not receive a bill. Billing statements and coupon books are sent as a convenience, but are not an obligation. Borrowers that have applied for a deferment must continue to make payments until the deferment is processed. Failure to make payments may result in default. Always maintain copies of all deferment request forms and document all contacts with the organization that holds the loan(s). The organization that holds the loan(s) must be notified if any of the following occur: graduation, withdrawal from school, dropping below half-time status, name or address change, or Social Security number change, or transfer to another school. Before receiving a first disbursement, students must attend an entrance interview. Before leaving school, students must attend an exit interview (see previous). FINANCIAL AID FEDERAL STUDENT LOAN REPAYMENT INFORMATION Before leaving school, students must receive the following information about their Federal Student Loan(s) in an exit interview: The average monthly repayment amount based on the total amount borrowed. The name of the organization that holds the loan(s), where to send loan payments, and where to write for loan questions. The fees expected during the repayment period. A description of deferment and cancellation provisions. A description of repayment options, such as prepayment, refinancing and consolidation loans. Debt management advice (if requested). Updated contact information (collected from student). CALIFORNIA CHAFEE GRANT PROGRAM The Chafee Grant Program is available to current or former foster youth. This program is funded annually and is subject to availability of funds each year. Qualified students must: Be eligible, or have been eligible, for foster care between their 6th and 8th birthday. Not have reached their nd birthday as of July st of the award year. For more information on Chafee Grants, or to download an application, please log on to You may also contact the Financial Aid Office for more information. Please be advised, the California State Grants awards are tentative and subject to annual State budget approval. SCHOLARSHIPS DEVELOPMENT SCHOLARSHIP Musicians Institute offers Development Scholarships in order to encourage the educational development of musicians and music industry professionals. Development Scholarships may be applied to any Musicians Institute Certificate or Degree program. The total scholarship amount will be divided by the total number of quarters in the particular program, and credited toward each quarter s tuition in equal amounts for as long as the student maintains satisfactory academic progress and no less than credits per Scholarships are non-transferable and may not be applied to any person, program, or enrollment date other than that for which they were originally awarded. SCHOLARSHIP Musicianship Scholarships are available to students enrolled in Associate of Arts Degree in Performance and GENERAL 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

95 GENERAL FINANCIAL AID Certificate in Performance programs. Up to 0 scholarships per year (ten per program start, two per instrument major) are awarded to applicants demonstrating outstanding musicianship. Individual awards will be granted to students who successfully complete each quarter of their enrollment. Musicianship Scholarships are available to both U.S. and non-u.s. citizens. To be considered for a Musicianship Scholarship, you must take the following steps: Complete a Musicianship Scholarship application for the program to which you are applying (applications are available from MI s Admissions Office). Submit an essay explaining why you should be considered for the scholarship. Submit a video recording of you performing on your major instrument. Video requirements vary by program (see application for details). THE MUSICIANS FOUNDATION SCHOLARSHIPS Several additional scholarships are available to students enrolled in Associate of Arts and Bachelor s Degree in Performance, as well as Certificate programs. Please refer to for the most up-to-date information on these scholarship opportunities, applications and application deadlines. All scholarship applications and application deadlines are available in PDF format on the mi.edu website. Please refer to this site for additional scholarships that may become available. SATISFACTORY ACADEMIC PROGRESS (SAP) Federal regulations require all institutions that participate in Title IV aid programs to define and monitor satisfactory academic progress (SAP) for all financial aid recipients. The standards must meet all Federal requirements and be equal to or more stringent than the SAP standards for non-financial aid recipients. All students, regardless of whether they receive financial aid or not, are required to meet both qualitative and quantitative academic standards while attending Musicians Institute. This policy insures that students are progressing through their programs of study and identifies students who may be at risk of failing. SAP DEFINED Students with a cumulative GPA (Grade Point Average) of less than.0 in their active program of study or students that have completed less than 66.66% of their cumulative attempted units in their active program of study have not met the minimum requirements for Satisfactory Academic Progress (SAP) for that program. SAP WARNING STATUS Students that fail to meet SAP for one quarter are required to attend mandatory academic advising. An academic plan will be created and must be followed by the student. Failure to do so will result in probation status. Students in a SAP warning status are encouraged to meet with a Student Affairs counselor to request free tutoring services offered on campus. Note: Online registration privileges will be revoked. All changes to schedule and/or academic plan must be made in person through the Registrar Services Department. SAP PROBATION STATUS Students that fail to meet SAP for two consecutive quarters are required to attend mandatory academic advising. The previous quarter s academic plan will be reviewed and an updated plan will be established, which must be followed by the student. Students in SAP probation status will be ineligible for financial aid until the SAP probationary status is appealed; appeals may be approved or denied. Students appealing the SAP probation decision with Financial Aid, must complete a SAP appeal form and meet with an Academic Advisor to complete an academic plan. The completed SAP appeal form and academic plan must be returned to the Financial Aid office for review. Approved appeals will result in a reinstatement of the student s financial aid eligibility. Students that are not receiving financial aid will be contacted by the Registrar Services office to complete both an appeal form and academic plan. Note: Online registration privileges will be revoked. All changes to schedule and/or academic plan must be made in person through the Registrar Services Department. SAP TERMINATION Students that fail to meet SAP for three consecutive quarters are reviewed to see whether or not the academic plan was met. Students that fail to meet the requirements specified in their academic plan will no longer be eligible for student financial assistance and will be terminated from their program of study at MI. Students who wish to re-enroll after SAP termination must petition for reinstatement and, if approved, may be subject to a waiting period and may also be required to create and adhere to an academic plan through the office of Student Affairs prior to returning to MI. NON-U.S. CITIZENS Students who are planning to attend Musicians Institute with an M- or F- Student Visa are ineligible to receive U.S. financial assistance. We recommend that international students contact the Department of Student Financial Assistance in their home country for information on financial aid offered by that country. U.S. financial aid programs are only available to U.S. citizens or students who are in one of the following categories: U.S. permanent residents who have an Alien Registration Receipt Card (I-5 or I-55). Other eligible non-citizens with a Departure Record (I-9) from the U.S. Immigration and Naturalization Service showing specific designations. VETERANS Veterans of the U.S. Armed Forces applying to this school who are NOT receiving the Post 9/ GI Bill, must make arrangements to pay tuition through means other than veterans (VA) benefits (e.g., cash or financial aid). Students receiving Post 9/ benefits (Chapter 33) will have any eligible tuition payments paid directly to the school. All housing allowances (BAH) will be paid directly to the student. Students receiving other forms of VA benefits (Chapters 30, 35, 606 /607) will receive their monthly benefit directly from the Department of Veteran Affairs. Students can apply for VA benefits online using the VONAPP at Paper forms are available for download on this site as well if needed. Students receiving VA benefits must submit transcripts from any previously attended college(s) for the evaluation of credits. Any allowable transfer credits will be recorded, and the length of the program will be shortened proportionately. Musicians Institute will guide veterans through the application process, but cannot determine eligibility, and accepts no responsibility for payments made directly to students. Please contact the Veterans Benefits Coordinator for any additional questions. REFUND & RETURN OF TITLE IV FUNDS POLICIES When a student withdraws from all classes or takes an Unapproved Leave of Absence, MI is required to complete a refund calculation to determine a student s unearned financial aid and unearned tuition for the last quarter they attended. MI s Return of Title IV Funds Policy and Institutional Refund Policy are updated regularly in order to remain in compliance with any changes in the applicable laws and regulations from federal and state agencies. An Approved Leave of Absence occurs when a student leaves for a full quarter with the intention to return. An Unapproved Leave of Absence occurs when a student takes more than one quarter off. Requests for all Leaves of Absence must be submitted in writing to the Student Affairs Office prior to the leave. Withdrawals include withdrawing from all classes, academic dismissal, and academic disqualification. The date on which a student officially notifies the Student Affairs Office of their intent to withdraw will be used as the basis for calculating refunds and returns. In the absence of official notification of withdrawal, the withdrawal date will be determined in accordance with Federal Title IV requirements. Upon notification of withdrawal, MI will determine the amount of unearned financial aid in their final quarter of attendance, then the amount of unearned tuition, as stated in the Enrollment Agreement and in the catalog. RETURN OF TITLE IV PROVISIONS All institutions participating in the Student Financial Aid (SFA) Programs are required to use a federally recognized payment period to determine the amount of SFA Program Funds a student has earned when he or she ceases attendance based on the payment period the student was in attendance. A payment period at this institution is the RETURN OF TITLE IV PROCEDURES FINANCIAL AID This applies to: Students who were awarded Title IV loans and/or grants in the quarter in which they have withdrawn. This includes funds that were or could have been disbursed under federal regulations, as students may be entitled to a Post-Withdrawal Disbursement for funds they were eligible for, but were not disbursed prior to the withdrawal. Students who withdraw before the 60% point of the The percentage is calculated by dividing (a) the number of days from the first day of school to and including the withdrawal date by (b) the total number of days in the quarter from the first day to and including the last day of quarter*. Number of days completed = Percentage completed Number of days in period (rounding the third decimal place up if the fourth decimal place is 5 or more) *Scheduled breaks of at least five consecutive days are excluded from the total number of calendar days in a payment period (numerator) and the number of calendar days completed in that period (denominator). Days in which a student was on an approved leave of absence are also not included in the calendar days from the payment period or period of enrollment. RETURN OF UNEARNED SFA PROGRAM FUNDS The school must return the lesser of the amount of SFA program funds that the student does not earn or the amount of institutional cost that the student incurred for the payment period, multiplied by the percentage of funds that was not earned. If the institution must return federal funds received by students who withdrew prior to completing the 60% of a given payment period, the student may owe the school for the portion of funds returned that the institution is otherwise entitled to, based on the school s approved and applicable refund policy. Return of Title IV Worksheets are available upon request from the Financial Aid Office. GENERAL 86 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

96 FINANCIAL AID In doing so, a financial staff person at MI should refrain from taking any action for his or her personal benefit; refrain from taking any action he or she believes is contrary to law, regulation, or the best interests of the students and parents he or she serves; ensure that the information he or she provides is accurate, unbiased, and does not reflect any preference arising from actual or potential personal gain; and be objective in making decisions and advising students at MI regarding relationships with any entity involved in any aspect of student financial aid. MI staff will refrain from soliciting or accepting anything of other than nominal value from any governmental entity (such as the U.S. Department of Education) involved in the making, holding, consolidating or processing of any student loans, including anything of value (including reimbursement of expenses) for serving on an advisory body or as part of a training activity of or sponsored by any such entity. MI staff must disclose in such manner as MI may prescribe, any involvement with or interest in any entity involved in any aspect of student financial aid. FINANCIAL AID GENERAL RETURN OF TITLE IV FUNDS CALCULATION (RT) MANDATED REFUND PRIORITY Title IV funds will be returned by MI and/or the student as applicable, according to federal regulations and deadlines. Federal regulations require that funds be returned to their original source in the following order:. Federal Unsubsidized Stafford Loan Program. Federal Subsidized Stafford Loan Program 3. Federal PLUS (Parent) Loan Program. Federal Pell Grant Program 5. Federal SEOG Grant Program INSTITUTIONAL REFUNDS AFTER RT REFUNDS DETERMINED After the Return of Title IV Funds Calculation (RT) is completed and any necessary refunds determined and processed, MI completes an institutional calculation to determine if a student s prorated charges have been paid for (see Withdrawal from a Program section later in this catalog). If, per the institutional calculation, the student is due a refund, the student will be given the choice of receiving a refund check or returning the excess funds to their financial aid fund sources. For students who choose to have the excess funds returned to their financial aid fund sources, the funds will be refunded in the following order:. Federal Loans (same order as above). Federal Grants (same order as above) 3. State Financial Assistance. Private Lender 5. Student/Parent 6. Other Refunds are made within 5 days of termination or withdrawal. MUSICIANS INSTITUTE FINANCIAL AID STAFF CODE OF CONDUCT Musicians Institute (MI) financial aid staff are expected to always maintain exemplary standards of professional conduct in all aspects of carrying out his or her responsibilities, specifically including all dealings with any entities involved in any manner in student financial aid, regardless of whether such entities are involved in a government sponsored, subsidized, or regulated activity. MUSICIANS INSTITUTE STATEMENT OF ETHICAL PRINCIPLES The primary goal of the MI Financial Aid office staff is to help students achieve their educational potential by providing appropriate financial resources. To this end, this Statement provides that the MI Financial Aid office staff shall: Be committed to removing financial barriers for those who wish to pursue postsecondary learning. Make every effort to assist students with financial need. Be aware of the issues affecting students and advocate their interests at the institutional, State, and Federal levels. Support efforts to encourage students to aspire to and plan for education beyond high school. Educate students and families through quality consumer information. Respect the dignity and protect the privacy of students, and ensure the confidentiality of student records and personal circumstances. Ensure equity by applying all need analysis formulas consistently across the full population of MI student financial aid applicants. Provide services that do not discriminate on the basis of race, gender, ethnicity, sexual orientation, religion, disability, age, or economic status. Recognize the need for professional development and continuing education opportunities. Promote the free expression of ideas and opinions, and foster respect for diverse viewpoints within the profession. Commit to the highest level of ethical behavior and refrain from conflict of interest or the perception thereof. Maintain the highest level of professionalism, reflecting a commitment to the goals of MI. GENERAL 88 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

97 GENERAL ARTIST SUPPORT CENTER The goal of the Artist Support Center (ASC) is to empower students by enhancing their understanding of course materials, facilitating professional development learning strategies, and fostering confidence and skills needed to excel in the entertainment industry. Our students well-being and general happiness are of utmost importance. Thus, the Artist Support Center specializes in all social sciences, alongside various professional items including (but not limited to): EPK s (Electronic Press Kits), Resumes, Cover Letters, Bios, Entrepreneurship, Self-Branding Techniques, Humanities, Student Advising, Professional Internships, Housing, Auditions and Audition preparation, and all other musical and career-based matters. HOW WE CAN HELP YOU SUCCEED Our counselors can provide each student with the necessary tools to enhance their campus experience that will aid in promoting success both in and out of the classroom. Through scheduled appointments, group tutoring workshops, facilitated group workshops, and supplemental instructional sessions, SSC team members help you succeed in the following areas: Artist Services Career Development Alumni Engagement Internship Placement and Assistance Housing International Student Advising STUDENT SUPPORT Our approach provides you with a built-in support system that will help you throughout your academic studies, professional development, and into your career. Furthermore, MI s ASC counselors provide each student with the tools needed to enhance their campus experience and promote success both in and out of the classroom. WHO IS IN THE ASC? The Artist Support Center is comprised of Coordinators with expertise in Student Affairs, Internship Placement, Alumni Engagement, and Professional and Artist Service disciplines. In addition, Housing officials and International Student Advisors are present for support. This team works with you to enhance your academic experience and post-graduation success. WHATS THE PURPOSE OF THE ARTIST SUPPORT CENTER? MI s ASC provides students with a supportive and caring environment to facilitate the achievement of personal and professional goals. This hub will guide students in academic advising, career strategies, and personal counseling while promoting healthy social atmosphere for enhanced student well-being. STUDENT AFFAIRS The Student Affairs Office is here to provide support and guidance during your transition to MI and throughout the length of your program. Our mission is to ensure that you have access to the resources you need to be a successful student. Our dedicated staff is committed to assisting you with any issues which may arise as you familiarize yourself with your new environment. The Student Affairs Office offers a wide range of services, including: Personal counseling Health and wellness offerings Tutoring requests Academic Appeals and Changes ARTIST SERVICES Our Artist Services staff provides students and alumni with the guidance, support, and resources needed to develop their academic and professional careers. This is accomplished through detailed instruction and counseling on various professional items including (but not limited to): EPK s (Electronic Press Kits), Resumes, Entrepreneurship, Self-Branding, Professional Internships, Auditions (and Audition preparation), and all other musical and career based matters. Many of the aforementioned items also correspond with many of our AA and BACH professional development classes. Thus, Professional and Artist Development are present both in and out of MI. Services include: Artist Development MI Connects Career Mentoring Career Workshops General Affiliations and Discounts to Career Related Events Detailed explanation of these services are located on the next page. ALUMNI ENGAGEMENT The services of the ASC continue to be available after students graduate from their MI program. Alumni can stay connected to MI and the music industry through clinics, educational events and networking opportunities. Graduates also have the opportunity to make appointments with ASC counselors. Services include: Social Media Management Network Events Audition Training Access to MI Campus INTERNSHIP PLACEMENT AND ASSISTANCE The Internship Program provides first-hand experience in the music industry through internship positions in music-related companies for Audio Engineering and Common Course students. Music Business students are required to complete an internship for their major s requirement in their second Internship companies include: Record labels, recording studios, & post houses Entertainment marketing firms PR firms, booking agencies, & music publishers MI provides no guarantee regarding the future availability of internships at specific companies or in specific positions. Placement is subject to availability and student qualifications. HOUSING OFF-CAMPUS HOUSING MI is dedicated to assisting students who are seeking housing that is safe, comfortable, convenient and affordable. MI s housing coordinator maintains regularly updated listings of apartments within walking distance to the main campus as well as additional listings of apartments within the two-mile radius of the MI shuttle service. Outside of the two-mile radius, the number of apartment listings expand into the hundreds. The Housing office offers a wide range of services, including: Apartment Vacancy Listing Services Roommate Referral Service and Housing Meetings Student Housing Guide Shuttle Service/Transportation Monthly rents range from $00 to $,00 depending on size, location, amenities, and whether or not you are sharing the ARTIST SUPPORT CENTER cost of expenses. For more questions on housing options, please contact our housing coordinator at Roommates who need housing/assistance should arrive at least weeks prior to the start of their classes. Daily housing meetings and new student tours will take place during registration Week. MI RESIDENCE HALLS MI is proud to announce the addition of two off-campus residence halls which will provide a safe environment and encourage learning and personal growth in an inclusive community. The Housing office continually strives to improve services to meet the needs of our students and to reflect the high standards of Musicians Institute. Each Residence Hall is listed below: MCCADDEN RESIDENCE HALL 57 North McCadden Place, Los Angeles, CA THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, GENERAL

98 GENERAL ARTIST SUPPORT CENTER Featuring: High-Speed WiFi Kitchen includes a full size refrigerator, microwave oven, and induction cooking surface Full bathroom Closet Space Coin-operated laundry facilities Resident Advisor will be present MARK TWAIN RESIDENCE HALL 6 North Wilcox Ave, Los Angeles, CA 9008 Featuring: High-Speed WiFi Kitchen includes a full size refrigerator, microwave oven, and induction cooking surface Full bathroom Closet Space Coin-operated laundry facilities Resident Assistant will be present ADDITIONAL INFORMATION Applications are available from the Housing Coordinator, Rossana Brassea. You can choose your own roommate or one can be chosen for you. Roommate information questionnaires are available from the Housing Coordinator. Students can live in the dorm for the length of their program or year, whichever is shorter. Dorms are available on a first come, first serve basis. See the Housing Coordinator for more details. Double occupancy: $,700 per quarter Single occupancy: $5,00 per quarter Refundable security deposit: $900 Note: MI Residence Halls are considered extensions of the MI Campus and, as such, residents are responsible for abiding by these Policies and Procedures, by the Residence Hall Rules and Regulations as well as all MI Facilities Regulations and the Student Conduct Code described in the Musicians Institute Student Handbook. INTERNATIONAL STUDENT ADVISING Our International Student Affairs office can counsel students in regards to Student Visas, I-0 s, F- extensions, Transfers, OPT work permits, and other student visa related topics. Culture shock and adjustment counseling is also available for those students having difficulties adjusting to a new environment. ADDITIONAL SERVICES LOCKERS Lockers are available on campus, and students can sign up in the ASC. All lockers must be shared between two students, come with the person you ll be sharing a locker with and the lock you ll be using. TRANSPORTATION ASSISTANCE We can help you arrange transportation from LAX Airport to Hollywood. Metro passes (discount TAP card applications) are available too. DISCOUNTED ENTERTAINMENT TICKETS Discounted tickets to Universal Studios Hollywood, Six Flags Magic Mountain & Six Flags Hurricane Harbor, AMC Movie Theatres, The Taxi Rally, ASCAP I Create Music Expo, NAMM, GrammyU, and more! STUDENT WORKERS Interested in working on campus? Fill out an application to get the process started in Weeks - of each NOTE: Employment is not guaranteed. ARTIST DEVELOPMENT OFFERINGS ONE-ON-ONE COACHING All members of the Artist Development team are available for individual coaching on any and all matters pertaining to your career, including: strategic planning, networking, career counseling inquiries, Internship inquiries, job searching, general course advising and more. JOB PLACEMENT While Musicians Institute does not offer Job Placement Services, students may take advantage of the many career preparation and professional development opportunities listed below. RÉSUMÉ, COVER LETTER, EPK, PERSONAL WEBPAGE AND MOCK INTERVIEW SERVICES ASC staff is available to help students and alumni develop and polish their résumés, EPKs, interview skills, cover letters and promotional materials. ARTIST SUPPORT CENTER MI CONNECTS (CONNECTS.MI.EDU) MI Connects, MI s online talent and opportunity resource, is an exclusive service for current and former students. The Artist Support Center receives frequent calls from talent scouts, managers, producers, booking agents, A&R representatives, potential music students, and studio managers who require the services of trained musicians and engineers. All members can post profiles including mp3 links, photos, videos, and résumés to the MI Connects online database. Members also gain access to online job boards, a search engine exclusive to MI Connects, and a community forum. AUDITION WORKSHOPS + MOCK AUDITIONS Each quarter, audition workshops train students and alumni in the fundamental techniques necessary to gain a competitive edge. The Audition Workshop is Step - what to expect at a profession audition. The Mock Audition is Step - student/alumni prepare material for a mock audition and their performance is critiqued by the instructor. CAREER MENTORING Private career mentoring sessions are available to all MI students and alumni. Students/alumni meet one-on-one with top industry professionals who provide personalized advice on career options and how to prepare for life as a professional. CAREER WORKSHOPS Career-related workshops are held every quarter to bolster a student s understanding of the entertainment industry. GENERAL AFFILIATIONS AND DISCOUNTS TO CAREER RELATED EVENTS Students are encouraged to attend career related events with MI s discounted and seasonal rates. Past events and affiliations include: NAMM Show, ASCAP I Create Music Expo, TAXI Road Rally, Grammy U, California Copyright Conference, and more. GENERAL 9 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

99 GENERAL POLICIES ACADEMIC POLICIES AND DEFINITIONS ACADEMIC CALENDAR All degree and certificate programs operate on a year-round quarterly academic calendar, with each quarter consisting of 0 weeks of classes and one week of testing, followed by two weeks of break. ACADEMIC HONESTY/INTEGRITY All students have an obligation to behave honorably and respect the highest ethical standards in carrying out their academic assignments. Academic dishonesty is defined as any form of cheating, falsification, and/or plagiarism. In cases where academic dishonesty or falsification of academic information is proven to have occurred, students may receive a failing grade and are subject to additional disciplinary actions up to and including termination from the program. ACADEMIC PROBATION Satisfactory Academic Progress is reviewed quarterly and students showing a cumulative GPA of less than.0 are placed on Probationary Warning status. A cumulative GPA of less than.0 for two consecutive quarters results in the student being placed on Official Academic Probation status. A continued cumulative GPA of less than.0 for three consecutive quarters results in loss of Financial Aid funding and termination from the program. APPEALS/REQUEST FOR ACADEMIC REVIEW A student has the right to appeal any change in status or grades that may affect his or her grade point average or ability to graduate. All such requests must be made in writing (forms/instructions are available in the Registrar s Office) and submitted to the Office of Academic Affairs. Students will be contacted about the committee decision within one week of submission. Submission of such a review does not exempt students from any school regulations, processes, or common procedure. ATTENDANCE REQUIREMENTS Regular attendance is required and recorded in all classes and lessons, and is factored into overall course grades. Students who show poor classroom or private lesson attendance will be contacted and counseled by an Advisor. Continued absence from a class may result in a failing grade for that class (see the course syllabus for specific information on attendance). Absence from school for more than three consecutive weeks without an approved Leave of Absence will result in termination from the program. Both scan-in records and classroom attendance will be used to determine school and facility use/attendance, and will be factored in to any change of status and withdrawals. ATTENDANCE POLICY Attendance in most courses is required and is reflected as a portion of your overall grade. With specific exceptions, attendance is recorded in this manner: Present (P): In class 0 :59 minutes late Tardy (T): arriving 5 :59 minutes late Absent (A): arriving more than 5 minutes late, or not in attendance Three(3) Tardy(T) records = One () Absent(A) grade Missing more than 50% of a class is considered Absent(A) regardless of above attendance status. NOTE: Some classes have different attendance processes. Please refer to course syllabi and/or your instructor for specific rules for each class. EXCUSED ABSENCES Students are expected to attend every class for which they are registered. In rare cases, an absence may be excused. All requests for excused absences must be submitted to the Student Affairs Office for review. Examples of reasons for excused absences, which must be documented and are subject to review, include: Jury or military duty Emergency circumstances (medical, family or other) Excused absence requests must be submitted to the Registrar Office with accompanying documentation within five school days after the student s return to class. Requests submitted after this period and/or after Friday of Week will be denied. The maximum number of excused absences per quarter is five days. Requests for repeated absences from the same class may not be approved. AUDITING Attendance by students in courses in which they are not registered is not permitted. CANCELLATION OF ENROLLMENT DEGREE AND CERTIFICATE PROGRAMS BUYERS RIGHT TO CANCEL: The student has the right to cancel the Student Enrollment Agreement and receive a full tuition refund, less any non-refundable fees by submitting a written notice of cancellation to Musicians Institute s Student Records Office prior to the first day of instruction. The written notice of cancellation becomes effective as of the date of the postmark. Written notice of cancellation should be sent to: Musicians Institute, Registrar s Office 675 Hollywood Boulevard Hollywood, CA 9008 If a student attends the first day of a course of instruction, and withdraws by submitting a written notice of cancellation to Musicians Institute s Registrar before the end of the business day on the first day of instruction, or withdraws seven calendar days after enrollment (whichever is later); he or she will receive a complete tuition refund within 30 days of cancellation, less the application fee. NON-CERTIFICATE PROGRAMS / MI SELECT & MI SELECT EXPRESS An applicant may cancel his or her enrollment in writing any time before the end of business on first day of instruction, or the seventh day after enrollment (whichever is later). Written notice of cancellation should be sent to the Registrar s Office (see address above). All money paid to Musicians Institute will be refunded within 30 days of cancellation, less the application fee. Remember, an applicant must cancel in writing, not by telephoning or by not coming to class. CLASS STANDING Class standing is determined by the number of credits completed toward graduation. Class standing is calculated as follows: Freshman 0-5 credits Sophomore 6-90 credits Junior 9-35 credits Senior credits To complete the Bachelor of Music Degree within three calendar years or an Associate Degree within 8 months, students must successfully complete an average of 5 credit-units per quarter of continuous enrollment (including General Education credits). /REQUIRED COURSES Major Area courses are required for all students attending a given program. All Major Area courses must be passed in order to meet overall degree or certificate requirements. COURSE REPETITION A student receiving an overall course grade below C- (70) in a required course will be required to re-enroll in and pass the course in order to complete their degree requirement. Such re-enrollment may require student to attain approval, adhere to guidelines set forth in an academic plan, and/or enroll in a remedial course in advance of re-enrolling in the course. Full tuition will be charged and normal grading standards will apply. Students may not enroll in the same required course more than three times. Financial Aid may not apply toward courses repeated more than twice. A student who has passed a course and earned credit may not re-take the same course for additional credit unless the catalog course description states may be repeated for credit. POLICIES CREDIT-HOUR/CREDIT-UNIT A credit-hour/credit-unit measures the quarterly academic weight given to a particular course (e.g. Inside Studio Drumming = credit-unit). A quarter credit-hour represents either of the following: One hour of classroom or direct faculty instruction and a minimum of two hours of out-of-class student work each week for 0 weeks, or the equivalent amount of work over a different time; At least an equivalent amount of work as required above for other academic activities as established by Musicians Institute. Electives are courses other than core requirements chosen by the student from an approved course offering. In programs with elective requirements, students must successfully complete the total number of required elective credits in order to qualify for the degree or certificate. ENROLLMENT STATUS Completion of an optimal 5 credits per quarter is required to complete all programs within the shortest possible time frame. Full-time or more units Three-quarter-time Half-time Less-than-half-time 5.5 or less CHANGES IN ENROLLMENT STATUS Musicians Institute programs are designed to provide students the best possible educational experience in as expedited a time frame as is appropriate. As such, it is generally not advisable for students to enroll in courses in excess of the optimal course load of 5 units per Regardless of the foregoing, in certain cases, it may be necessary for students to enroll in course loads in excess of this optimal course load. In these rare cases, students may be required to meet with and request approval from academic advisors prior to adding extra courses in order to best ensure student success. Note: Such requests may be denied in cases in which student success, based on course load or courses requested, is deemed unlikely. Students should be aware that diminished course loads may result in diminished access to MI campus and facilities. Bachelor Degree students are expected to maintain full-time status, insofar as is possible, until they have completed 90 credit-units, including transfer credits and General Education credits. Bachelor students in good academic standing after completing 90 creditunits may be considered for three-quarter or half-time status. Less-than-half-time status is only available to students requiring less-than six units to complete a program. GENERAL 9 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

100 GENERAL POLICIES STUDENT ACCESS TO FACILITIES Students with full- and three-quarter-time status have full access to MI facilities. Students with half-time and less-than-half-time status have access to facilities only during those hours when their scheduled classes are in session. Students must be at least three-quarter-time to get access to MI Vocal and Drum Labs. Vocal and Drum Labs are not available to students from other programs. Audio Engineering and IAP studios are not available to students from other programs. Guitar Craft Facilities are not available to students from other programs. Guitar Craft Students may only access the facilities during regularly scheduled classes, and 8:00 am - :00 pm on Saturdays. DJ Program Practice rooms are not available to students from other programs. RESIDENCY/TRANSFER OF CREDIT REQUIREMENT Musicians Institute will make appropriate efforts to acknowledge work completed at other institutions of higher learning. Credits from other institutions, should they be accepted, may be applied only in pursuit of a Bachelor s Degree at Musicians Institute. Credits may be transferred for courses applicable to the MI Bachelor s Degree for which a student has earned a grade of C or above at an accredited institution. In order to receive a Bachelor s Degree from Musicians Institute, a student must complete the majority (at least 5%) of all credits applied toward the Bachelor Degree. GRADUATION REQUIREMENTS BACHELOR OF MUSIC DEGREE GENERAL EDUCATION REQUIREMENTS Musicians Institute maintains a General Education Transfer Agreement with Los Angeles City College (LACC) that provides for Bachelor of Music students to complete their General Education requirements at the nearby LACC campus. MI also accepts accredited, college-level Liberal Arts credits from other schools that meet equivalent requirements. Students must submit an official academic transcript, which will be evaluated on a case-by-case basis by the Dean and the Registrar. A total of 5 GE quarterunits or 30 semester-units are required for graduation. Courses that are transferred in semester credit-units from other institutions will be translated into quarter units by the Registrar s Office. BACHELOR OF MUSIC IN PERFORMANCE // CONTEMPORARY STYLES Bass, Guitar, Keyboard Technology, Drums, Vocals. Complete 80 required credit-units, including 35 Major Area, Supportive Music, and Elective credits, and 5 General Education credits.. Maintain minimum.0 GPA. 3. Pay all tuition and fees. BACHELOR OF MUSIC IN PERFORMANCE // CONTEMPORARY STYLES WITH A MINOR Bass, Drum, Guitar, Keyboard, Vocal (Minor in Entertainment Industry Studies or Minor in Audio Production) Complete 05 required credit-units, including 35 Major Area, Supportive Music, and Elective credits, 5 Minor Area disciplines, and 5 General Education credits. Maintain minimum.0 GPA. Pay all tuition and fees. BACHELOR OF MUSIC IN COMPOSITION //SCORING FOR VISUAL MEDIA PROGRAM Complete 80 required credit-units, including 35 Major Area, Supportive Music, and Elective credits, and 5 General Education credits. Maintain minimum.0 GPA. Pay all tuition and fees. ASSOCIATE DEGREES Associate of Arts Degrees in Bass, Drum, Guitar, Keyboard Technology, and Vocal; or Associate of Science Degree in Music Business Complete 90 required credit-units. Maintain minimum.0 GPA. Pay all tuition and fees. ASSOCIATE OF ARTS DEGREE IN PERFORMANCE // COMBINED EMPHASIS Complete 90 required credit-units, including: 60 Performance emphasis credit-units (Bass, Guitar, Keyboard Technology, Drum or Vocal). 30 Entertainment Industry emphasis credit-units (Audio Engineering; Guitar Craft; Independent Artist Development; or Music Business). Maintain minimum.0 GPA. Pay all tuition and fees. CERTIFICATE IN ENTERTAINMENT INDUSTRY PROGRAMS Audio Engineering, DJ Performance & Production, Guitar Craft, Independent Artist Program, Music Business Complete 30-5 required credit-units (varies by program). Maintain a minimum.0 GPA. Payment of all tuition and fees. CERTIFICATE IN PERFORMANCE Bass, Drum, Guitar, Keyboard Technology, Vocal Complete 60 required credit-units. Maintain a minimum.0 GPA. Payment of all tuition and fees. COMMENCEMENT College commencement ceremonies take place at the end of each Students must petition to graduate through the Office of the Registrar in order to ascertain whether they are eligible for graduation/commencement. Participation in commencement ceremonies is encouraged but not required. Students wishing to take part in commencement ceremonies must have completed all of the requirements of their degree or certificate in advance of the date of graduation. Students taking part in commencement ceremonies must pay a fee covering cap and gown rental, ticket prices and administrative costs. Graduating participants are required to wear a cap and gown of a style/ color designated by Musicians Institute. Musicians Institute s Office of Student Affairs will facilitate the rental of a cap and gown for graduating students. Graduating students will be awarded a limited amount of tickets at no charge. Students may request and purchase extra tickets (if available) through the Office of Student Affairs. CHANGING PROGRAMS Students who wish to change their course of study from one program to another before completing their current program must:. Apply to the new program through Registrar Services and pay a re-application fee.. Audition for the new program (where applicable). 3. If accepted, register for the new program and pay all applicable tuition and fees. Note: No student may enter a third program without having graduated from or satisfactorily completed one of the first two. If either of the two incomplete programs is the non-credit MI Select Program, then the student must have passed twothirds of the credits taken while in MI Select Programs with a Cumulative GPA of.0 or better in order to begin a third program. Transfer of credits from one program to another will be determined on a case-by-case basis during registration. DROPPING OR ADDING COURSES Students are allowed to drop or add any class without fees or penalties by submitting a Drop / Add form to the Registrar by Friday of Week. Students wishing to drop classes below credit-units per quarter must seek counseling/ approval through the Office of Student Affairs. Drop/Add Period - A drop/add period is the period of time at the beginning of each quarter during which registered students may drop or add classes without late registration penalties. The drop/add period for each course begins on the first day of the quarter and ends on the Friday of Week. Tuition and Refunds Credits added to the schedule will be charged at the applicable tuition rate. Payment is due immediately upon adding credits. Full tuition will be refunded for credits dropped during the drop-add period. 50% of tuition will be refunded for classes dropped during Week 3. No tuition will be refunded for classes dropped from the fourth week on. Withdrawals and cancellations Withdrawals after the second week but before the seventh week will appear on the student s transcript as a W. Withdrawals after the seventh week will be assigned a grade based on course requirements met up to that point. Under-enrolled courses are subject to cancellation at any time before Week with full tuition refund to enrolled students Further Information on withdrawing completely from a program can be found under Withdrawal from a Program in this catalog. Notification of schedule changes Financial Aid recipients must notify the Financial Aid Office of any schedule changes. International students must notify the International Student Advisor of any schedule changes. HOLIDAYS, CALENDAR AND SCHOOL CLOSURES Musicians Institute does not reschedule, make up, or otherwise replace classes, lessons or other events that fall on holidays, during school closures or on other occasions on which the school is not open. Please refer to the most recent Academic Calendar for information on such closures. LEAVES OF ABSENCE (LOA) Students who find they have to take a Leave of Absence (LOA) must submit a written request to the Office of Student Affairs. The request must be mailed or personally delivered to the Office of the Registrar, 675 Hollywood Boulevard, Hollywood, CA, The request should contain the student s expected date of return. The maximum length of an end-of-quarter LOA is 80 calendar days. LOA are only granted to students who complete the entire quarter including final exams and are maintaining satisfactory academic progress before beginning the LOA. Students may take only one LOA during the length of a program. Students on LOA are not qualified to receive Financial Aid during the Leave. Any student who has received a Federal Stafford Loan and takes a six-month LOA will enter the grace period and/or begin repayment on their loan because the six-month leave exceeds the Federal government s 80-day maximum for an approved LOA per -month period. Since MI Select is not an academic program, MI Select students are not eligible for an LOA. Students receiving Federal Financial Aid should also see Satisfactory Academic Progress. MAXIMUM ALLOWABLE UNITS Students who fail to complete a program before reaching POLICIES GENERAL 96 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

101 GENERAL POLICIES the maximum allowable number of units attempted will be terminated from the program. Units counted as units attempted per evaluation period include units transferred into the program, units completed, courses receiving letter grades of D or F, and courses designated on the transcript as I, W, NC, and NR. The maximum allowable number of units that may be attempted for each program is: Bachelor of Music: 70 units Associate of Arts: 35 units Certificate in Performance: 90 units 30-unit qtr Certificate Programs: 5 units 5-unit 3qtr Certificate Programs: 67.5 units MINIMUM UNIT COMPLETION REQUIREMENTS To maintain Satisfactory Academic Progress, all students must complete (i.e. pass with a grade of C- or above) a minimum number of units within a certain period of time depending on their program and enrollment status. Minimum unit completion requirements for each program and status are listed below. BACHELOR OF MUSIC AND ASSOCIATE DEGREES The minimum unit completion requirement per academic year (three quarters) for each enrollment status is as follows: Full-time ( or more units per quarter)*: 30 units Three-quarter time (9- units per quarter): 3 units Half-time (6-8 units per quarter): 5 units Less-than-half-time (less-than 6 units per quarter): 3 units Note: Mixed enrollment - See the Financial Aid office for your minimum unit requirement. CERTIFICATE IN PERFORMANCE The minimum unit completion requirement per academic year (three quarters) for each enrollment status is as follows: Full-time ( or more units per quarter)*: 0 units Three-quarter time (9- units per quarter): 5 units Half-time (6-8 units per quarter): 0 units Less-than-half-time (less-than 6 units per quarter): units Note: Mixed enrollment - See the Financial Aid office for your minimum unit requirement. *Students wishing to enroll in fewer than units per quarter must request approval through the Office of Student Affairs. *Associate and Certificate students who need fewer than 5 units to complete their program may register for said units through the Office of the Registrar. Students should be aware that diminished course loads may result in diminished access to MI campus and facilities. 30-UNIT (TWO-QUARTER) CERTIFICATE PROGRAMS The minimum unit completion requirement every quarter for each enrollment status is as follows: Full-time ( or more units per quarter)*: 0 units Three-quarter time (9- units per quarter): 7 units Half-time (6-8 units per quarter): units Less than half time (less-than 6 units per quarters): unit Note: Mixed enrollment - See the Financial Aid office for your minimum unit requirement. *Students wishing to enroll in fewer than units per quarter must request approval through the Office of Student Affairs. *Associate and Certificate students who need fewer than 5 units to complete their program may register for said units through the Office of the Registrar. Students should be aware that diminished course loads may result in diminished access to MI campus and facilities. 5-UNIT (THREE-QUARTER) CERTIFICATE PROGRAMS The minimum unit completion requirement per academic year (three quarters) for each enrollment status is as follows: Full-time ( or more units per quarter)*: 0 units Three-quarter time (9-.5 units per quarter): 7 units Half-time (6-8.5 units per quarter): units Less-than-half-time (less-than 6 units per quarter): unit Note: Mixed enrollment - See the Financial Aid office for your minimum unit requirement. *Students wishing to enroll in fewer than units per quarter must request approval through the Office of Student Affairs. *Associate and Certificate students who need fewer than 5 units to complete their program may register for said units through the Office of the Registrar. Students should be aware that diminished course loads may result in diminished access to MI campus and facilities. REGISTRATION All students are required to register for classes prior to every quarter of enrollment. All registration procedures are coordinated through the Registrar s Office. The following rules apply to all students, whether new or returning: All tuition and fees are due and payable at registration (see Tuition and Fees for more information about costs and payment options). Students will not be permitted to enter MI facilities until required tuition and fees have been paid. NEW STUDENTS Permission to register for classes is granted to new students only if they have been fully and completely processed through the Admissions Office and have completed placement testing where applicable (see Academic Calendar for dates). Instructions and materials for registration will be made available at the times designated for new student registration. CONTINUING STUDENTS All continuing students are required to register for classes for their next quarter during the ninth week of their current Continuing students who register after the end of the re-registration period will be assessed a late registration fee (see Tuition & Fees). Failure to officially confirm attendance for the next quarter will result in courses and lessons (where applicable) being dropped from those students schedules. STUDENT RECORDS Student records are updated and maintained in digital format throughout a student s tenure at Musicians Institute. Musicians Institute retains student transcript information including degree, certificate, diploma, courses, units, grades, and dates of enrollment/graduation indefinitely. Other student record items such as address, phone numbers, information are retained for a period of five years at minimum. Thereafter, they may be stored digitally or at an off-site location. Students may request copies of their academic transcript by submitting a request to: Musicians Institute, Registrar s Office 675 Hollywood Boulevard Hollywood, CA 9008 The request must include the student s full name (maiden name if applicable), Social Security Number, program, date of attendance, and a transcript fee of $5.00 USD per transcript payable to Musicians Institute (check or money order only). See Students Right to Know for information regarding privacy of student records. GRADING GRADE POINT A number used to measure academic achievement in a credit unit course (.0 = A+, 0.0 = F). Grades are calculated based on a combination of factors that may include attendance, participation, assignments and tests (see each course syllabus for specific grading standards). All and Elective requirements must be met with a grade of C-, or better (.7). Tuition will be charged for all repeated courses. GRADE POINT AVERAGE (GPA) An average of all grade points awarded for all courses attempted, calculated by dividing the number of grade points by the number of units attempted. Students enrolled in all programs are required to have earned a cumulative GPA of POLICIES at least.0 at the end of the third quarter for Bachelor of Music and Associate of Arts Degree students; at the end of the second quarter for Certificate in Performance students; and at the end of the first quarter for all 30-unit, two-quarter certificate program students. Students failing to achieve minimum GPA requirements will be placed on probation and must correct the problem within a specified period of time to avoid possible termination. GRADING STANDARDS AND REPORTING The Grade Point Average (GPA) will be used to measure a student s Satisfactory Academic Progress. This is calculated by dividing the number of grade points by the number of units attempted. A passing grade of C- (70) or better is required to earn credit in all core and elective course work. GRADING POLICIES The following grading standards will be applied to all credit unit requirements: GRADE A+ A A- B+ B B- C+ C C- D+ D D- F P I W NC NR SCORE C- IS THE LOWEST PASSING GRADE Pass Incomplete Withdrawal No Credit No Record GPA No Credit No Record NC NR INCOMPLETE (I) A grade of Incomplete will be approved only if the student is making satisfactory progress in the course, but cannot GENERAL 98 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

102 POLICIES POLICIES GENERAL complete the final project or examination due to justifiable, and documented reasons including but not limited to: a personal emergency; an illness; or a documented family emergency. All incomplete course work must be made up before the end of the first week of the following quarter unless an extension is granted due to verifiable injury or illness. When course work is completed to the satisfaction of all established requirements of the course, a grade will be issued to replace the I on the student s transcript. Failure to complete the course work within the maximum allotted time will result in a grade of F replacing the Incomplete. An Incomplete on a prerequisite course must be resolved before the student can enroll in a class requiring that course as a prerequisite. NO CREDIT (NC) See Pass/No Credit. NO RECORD (NR) The letters NR on the transcript indicate that there is no record of an overall course grade on file in the Registrar s Office. This indication is for administrative purposes only and is changed to the appropriate letter grade once the issue has been resolved. PASS (P), NO CREDIT (NC) Some course credits may be earned by meeting requirements other than those stipulated in course descriptions/on syllabi (such as Challenging out Pass/Fail courses). The status of these courses is designated on your transcript as either P (Pass: course requirements met and credit earned) or NC (No Credit: course requirements not met and credit not earned). These designations do not affect a student s GPA, but any required course receiving No Credit must be passed in order to complete the requirements necessary to achieve a degree or certificate. SATISFACTORY ACADEMIC PROGRESS (SAP) All students are required to meet minimum standards for Satisfactory Academic Progress as reviewed in the following areas (refer to the respective headings in this section of the catalog): Grade point average (GPA). Minimum unit completion requirements. Maximum allowable units. Satisfactory Academic Progress is reviewed at the completion of each After course grades have been posted, students with a cumulative GPA (Grade Point Average) of less than.0 or students that have completed less than 66.66% of cumulative attempted units will be placed on SAP Warning. Students that fail to meet SAP for two consecutive quarters will be notified of SAP Probation status. Financial Aid will be suspended until the SAP probationary status is appealed. Students appealing the SAP probation decision must complete an SAP Appeal form and meet with an Academic Advisor to complete an Academic Plan. The completed SAP appeal form and academic plan must be returned to the Financial Aid office for review. Accepted appeals will result in a reinstatement of the student s financial aid eligibility. Students whose appeals have been accepted will be notified of SAP Appeal status. Students in SAP Appeal status that fail to follow their academic plan will lose their eligibility for student financial assistance and will be dismissed from attendance. Students on non-sap Warning or Probation status who wish to switch to a new may be required to submit a request for such to a panel for review. If approved, the student will begin the new program in non-sap Warning status and will be required to adhere to an academic plan. WITHDRAWAL FROM A COURSE (W) The letter W on the transcript indicates that a student was permitted to withdraw from a course after the normal drop-add period, but within the first six weeks of classes. Withdrawals are not factored into the GPA. Students wishing to withdraw from a course after the normal drop/add period must apply in writing to the Registrar. Withdrawal from a course after the sixth week of classes is not permitted; students who stop attending a class after the sixth week will receive a grade of F for that course, which will be factored into their GPA. The Registrar notifies the Financial Aid Office of late withdrawals. TESTING ADVANCED PLACEMENT See Testing Out CHALLENGING COURSES See Testing Out RESCHEDULED TESTING Students requesting late testing for missed final exams due to emergencies or other unforeseen/unavoidable events, or for grades of I (Incomplete), must submit the proper form to the Student Affairs Department in advance whenever possible, and pay a fee of $50.00 per exam. Following approval, the student will need to complete his or her retesting within Week of the following Students who wish to request a retest for an exam missed due to a documentable emergency situation may do so through the process above and supply documentation to Student Affairs for investigation. Approval of such request will result in the student receiving their actual grade for the course (as opposed to the maximum of C-, as above). TESTING OUT Students may receive credit for certain courses through advanced placement or by challenging the requirements of a course for a fee (see Tuition & Fees). Students wishing to test out of a course must first gain Program Chair approval and pass an evaluation of their knowledge of course material with a minimum grade of 90%. Advanced placement tests are allowed only before or during the normal Add period at the beginning of the program for which the student has enrolled. In the case of sequential classes, prerequisite courses may not be skipped over via test-out once the original placement has been determined. Students are not allowed to test out of courses previously taken and failed. If a student meets the requirements for testing out of a course, a designation of P (Pass) is entered on the transcript and course credit is granted towards graduation requirements. Credits are counted toward units completed but are not factored into the GPA. Note: In order to test out of a course, a student must demonstrate a level of knowledge/proficiency equivalent to the level of courses being offered that quarter in order to be enrolled in such courses. STUDENT CONDUCT STUDENT CONDUCT CODE Musicians Institute is dedicated to providing a safe and orderly environment in which students may pursue their educational goals. This requires that students, teachers, and staff foster an atmosphere of respect toward each other and their surroundings. In order to ensure that these processes and policies apply fairly to all, the term student in the student conduct policy shall apply to current, former, and prospective students. In addition, the discipline and conduct portions of the student conduct policy may be applied to any and all visitors and guests at the Musicians Institute campus and at events sponsored by Musicians Institute. Students are expected to abide by ordinary rules of responsible and courteous behavior. Musicians Institute holds all students, teachers and staff responsible for carrying out and monitoring compliance with this commitment. If you become aware of any violation of an ethical or legal obligation, or any unfair or improper treatment of a fellow student or teacher or staff member, you should report the matter immediately to the Safety and Security Manager so that it may be investigated and the appropriate action taken. By making it the responsibility of all members of the MI community, including students, to take an active role in policing compliance with these ethical standards, we can continue to not only maintain our creative environment, but also our reputation in the community. The following conduct is prohibited and will not be tolerated by Musicians Institute. This list is illustrative only; other types of conduct that threaten security, personal safety, staff or student welfare, or the school s operations also may be prohibited. VIOLATIONS OF POLICY Violation of any part of these policies may result in disciplinary action up to and including expulsion.. Intimidation, Threats, Disorderly, Lewd or Violent Acts include but are not limited to: Intimidating, threatening, or hostile behavior. Stalking, whether carried out physically, by telephone, mail, electronic mail, via online social networks, or any other means. Physical abuse of people or property. Lewd and/or lascivious behavior. Disorderly acts. Arson. Vandalism. Sabotage. Carrying weapons of any kind. Any other act Musicians Institute deems inappropriate. 5. Alcohol and Illegal Substances Musicians Institute, in compliance with the Federal Drug-Free Schools and Communities Act Amendment of 989, prohibits the use, possession, sale or distribution of alcohol, narcotics, dangerous or illegal drugs, or other controlled substances as defined by California statutes on school property. Students may obtain information pertaining to the health risks and effects associated with alcohol and narcotics or other dangerous or illegal drugs from the Student Affairs Office. The Student Affairs Office will also assist in referring students to recovery and/or treatment programs. Specific school policies prohibit: Use, possession, sale, distribution, and/ or production of alcoholic beverages, acting as an accessory, liaison, or facilitator for any of the above except at a time, location and circumstance expressly permitted by MI and government regulations. Public intoxication anywhere on MI s premises or at functions sponsored by or participated in by MI. Illegal substances: Use, possession, sale, distribution, and/ or production of narcotics or other controlled substances, including related paraphernalia, or acting as an accessory, liaison, or facilitator for any of the above. Disciplinary action for a violation of this policy can range from oral and written warnings up to and including suspension, expulsion, and/or termination of employment, depending on the circumstances. Note: Responsibility is not diminished for acts in violation of Musicians Institute rules and regulations or other laws that are committed under the influence of alcohol or any illegal drugs or controlled substances. 6. Unauthorized Video Recording/Sharing Video recording of any class, lesson, performance or other event on MI premises without the explicit permission of instructor(s) or any other individual whose visual representation is captured by the recording is prohibited. Sharing of any audio/video recordings of any class, lesson, performance, or other event on MI premises (including Internet posting, file sharing, GENERAL 00 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 0

103 GENERAL POLICIES network uploading) without the express prior consent of Musicians Institute Management is prohibited. 7. Breach of Peace Conduct that is disorderly, disruptive, lewd, or indecent as defined by laws, MI management or its designees is prohibited, as is aiding or abetting such behavior by another person anywhere on MI s premises or at functions sponsored by or participated in by MI. 8. Computer Violations Theft or other abuse of personal or MI computers is prohibited, including but not limited to: Modifying system or network facilities, or attempting to crash systems or networks. Using personal software on college computers. Using network resources which inhibit or interfere with the use of the network by other students. Using, duplicating, or transmitting copyrighted material without first obtaining the owner s permission, in any way that may reasonably be expected to constitute an infringement, or that exceeds the scope of a license, or violate other contracts. Tampering with software protections or restrictions placed on computer applications or files. Using college information technology resources for personal for-profit purposes. Sending messages that are malicious or that a reasonable person would find to be harassing. Sending personal messages from the college network that are threatening in nature. Subverting restrictions associated with computer accounts. Using information technology resources to obtain unauthorized access to records, data, and other forms of information owned, used, possessed by, or pertaining to the college or individuals. Accessing another person s computer account without permission. Intentionally introducing computer viruses, worms, Trojan Horses, or other rogue programs into information technology resources that belong to, are licensed to, or are leased by the college or others. Physically damaging information technology resources. Using, or encouraging others to use, information technology resources in any manner that would violate this or other college policies or any applicable State or Federal law. 9. Telephone Violations Tapping telephone or cable lines, altering another s phone message, harassing by telephone, unauthorized use of MI telephones, or theft of telephone service is prohibited. 0. Harassment Disturbing, tormenting, bothering, annoying of others including, but not limited to slurs, jokes, statements, s, gestures, pictures or cartoons based on such factors as race, color, religion, national origin, ancestry, age, physical disability, medical condition, marital status, sexual orientation, family care leave status, or veteran status, as well as harassment based on gender, pregnancy, childbirth or related medical conditions is prohibited. Sexual Harassment includes all these prohibited actions as well as other unwelcome conduct such as stalking, requests for sexual favors, conversation containing sexual comments, and unwelcome sexual advances.. Health and Safety Violations Conducting oneself in a manner that endangers or threatens the health and safety of oneself or others within the MI community and is prohibited.. Unauthorized Entry/Use of Keys/Identification Badges Unauthorized or improper possession or duplication of keys to MI premises, and unauthorized or improper entry to or use of MI facilities is prohibited. 3. Possession of Weapons, Explosives and Dangerous Items Possession of any type of firearm, BB or pellet gun, facsimile of a gun, knives, explosives, ammunition, dangerous chemicals, martial arts weapons, fireworks or any other weapons/items banned by law or considered dangerous is prohibited on MI premises or at events sponsored by or participated in by MI. (Musicians Institute restrictions on such weapons or items supersede any and all permits obtained from any issuing authority which allows private citizens to possess, carry, or conceal guns or other weapons.). Property Damage, Vandalism, and Theft The following are all prohibited by MI: Destruction, damage, misuse and/or defacing of personal or public property. Attempted or actual removal of property without prior permission. Note: Musicians Institute is not responsible for reimbursing or requiring others to reimburse a student for destruction, damage, misuse, or theft of personal property. It is strongly recommended that students obtain private insurance for their personal possessions. 5. Failure to Comply Failure to comply with lawful directions of MI officials, including but not limited to security guards, teachers, or administrative personnel acting in performance of their duties, is not tolerated by MI. 6. Failure to Provide Identification Failure to identify oneself with appropriate identification when requested to do so or providing false identification is prohibited. 7. Violation of Law Any violation of Federal, State, or local laws on MI property or at events sponsored by or participated in by MI is prohibited. 8. Loitering or Squatting Use of any MI facilities as a domicile to sleep and/ or store personal property or for anything other than educational purposes is prohibited. 9. Violation of Copyright Infringement Policy or the Academic Use and Acknowledgment Statement Violation of the Musicians Institute Copyright Infringement Policy set forth in the Musicians Institute school catalog or the Academic Use and Acknowledgment Statement. 0. Other Violations Violation of any other published Musicians Institute policies, rules, or regulations, including those implemented during the academic year REPORTING PROHIBITED CONDUCT Students, teachers and other Musicians Institute employees are obligated to report any incident of prohibited conduct to the Safety and Security Manager. Any student who receives a threat of violence by a student, teacher and/or member of staff, and any student who becomes aware of a threat, direct or implied, by any student, teacher and/or staff member on Musicians Institute campus, should report the matter to the Safety and Security Manager. All threats of violence are considered serious matters and will be thoroughly investigated. To the greatest extent possible, confidentiality will be maintained. Musicians Institute may, at its discretion, file criminal charges against a violating student or assist another person in filing charges. Musicians Institute prohibits retaliation, including but not limited to making any threatening communication by verbal, written and/or electronic means, against any individual who reports and/or provides any information concerning unlawful discrimination, harassment and/or other violations of MI policies, rules and standards of conduct. Any student or employee found engaging in retaliation will be subject to disciplinary action up to and including suspension and/or termination of employment. STUDENT DISCIPLINE PROCEDURES The procedures outlined in this section, based on common rules of fairness and due process, represent the steps employed to reach a resolution in cases of alleged misconduct. Questions concerning these procedures may be addressed to the Office of Student Affairs. A. Referral of Complaints Complaints involving alleged misconduct by students will be referred to the Office of Student Affairs. Such complaints should be made within one month following discovery of the alleged misconduct, unless an exception is granted by the Office of Student Affairs. The Office of Student Affairs will refer the report to a Musicians Institute Designee (School Designee) or may provide information about other campus or community resources which may be of assistance in resolving the matter outside the Musicians Institute Student Conduct Code. Complaints regarding sexual harassment or sexual misconduct may be made to any of the individuals listed below. Handling of all such complaints will be monitored by the Title IX Coordinator for compliance with standards and appropriate measures. Title IX Coordinator Tom Engfer (tengfer@mi.edu) (33) Security Manager Mike Hinksmon (mikeh@mi.edu) (33) Student Affairs Supervisor Elliott Maude (maudee@mi.edu) (33) Public Safety: (33) POLICIES B. Letter of Admonition A Musicians Institute Designee may provide notice to a student that his or her alleged behavior may have violated Musicians Institute policy or regulations and that, if repeated, such behavior may be subject to the disciplinary process. C. Investigation and Notice to Student Upon receiving the complaint of the alleged violation(s), the Musicians Institute Designee (School Designee), may consider information acquired from a complainant and may augment that information through further investigation in order to determine if there is a reasonable suspicion to believe that a violation may have occurred. If the School Designee determines that there is a reasonable suspicion to believe that a violation may have occurred, the School Designee will give notice to the student of the following:. The nature of the conduct in question, including a brief statement of the factual basis of the charges; the time, date, and place it is alleged to have occurred; and Musicians Institute rules and/or regulations allegedly violated.. The nature of the student conduct procedures (to be accomplished by providing the student access to the Musicians Institute Student Conduct Code). 3. That the student has seven days from the date notice was given to contact the School Designee for the purpose of scheduling an initial meeting. Meetings are to be scheduled within 0 days of the student contacting the School Designee. This schedule may be amended as a result of school breaks, closures, and holidays.. That if the student does not contact the School Designee within the seven-day period, or fails to keep any scheduled appointment, the student will be placed on Hold and the student will be notified that this action has been taken. The placement of a Hold may result in suspension of access to school functions or facilities, prevention of the student from registering and from obtaining transcripts, GENERAL 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

104 POLICIES POLICIES GENERAL verifications, certificates, or degrees from Musicians Institute. The Hold will be removed only when the student either attends a scheduled meeting with the School Designee, or requests in writing that the case be referred to the Student Conduct Committee for a hearing. 5. That no degree may be conferred on a student until any pending disciplinary charges against a student are fully resolved. In addition, the School Designee may direct the student to act or refrain from acting in a manner specified by the School Designee. These directions may include directing the student not to intentionally contact, telephone, or otherwise disturb the peace of others specifically named for a specified period of time. Violation of these directions is separate misconduct (Failure to Comply). D. Meeting(s) with the School Designee Assigned to the Case - At the initial meeting with the student, the School Designee assigned to the case will:. Ensure that the student has been provided information on how to access the Musicians Institute Student Conduct Code.. Discuss confidentiality; inform the student that the content of this and all subsequent communication with the School Designee regarding information not relevant to the case will, insofar as allowed by law, be treated confidentially, unless such confidentiality is waived by the student; and that information relevant to the case may be divulged to those who have a legitimate educational interest, including but not limited to the Student Conduct Committee. 3. Provide the student with an opportunity to inspect all documents relevant to the case which are in the possession of the school at the time of the meeting, at the student s request.. Describe to the student as completely as possible the nature of the conduct in question, and the MI rules and/or regulation(s) allegedly violated, hear the student s defense to such charges, and counsel the student as appropriate. 5. Provide the student with copies of the documents relevant to the case, at the student s request. Should the case be referred to the Student Conduct Committee, the School Designee will provide the student with copies of all documents at the time the case is referred. Relevant documents received thereafter will be shared with the student. 6. Although meeting with the School Designee provides the student with an opportunity to resolve the case without a hearing before the Student Conduct Committee, the student may opt to forgo a meeting with the School Designee by requesting, in writing, that the case be forwarded to the Student Conduct Committee for a hearing as defined below. E. Disposition by the School Designee - After conducting any further necessary investigation, the School Designee assigned to the case may take one of several actions listed below. Regardless of the action taken, the School Designee will confirm his or her disposition of the case in a notice to the student within seven days of the action. Additionally, the results of any disciplinary action or Agreement of Resolution by Musicians Institute regarding an allegation of sexual harassment, sexual assault, sexual misconduct, or other sex offenses will be disclosed to the alleged victim by the School Designee. The scope of information to be provided under this provision will be: The school s final determination with respect to the alleged sexual harassment, sexual assault, sexual misconduct, or sex offense; and Any sanction that is imposed against the alleged offender with respect to the alleged sexual assault, sexual misconduct, or sex offense.. Imposing Sanctions - If the student does admit responsibility, and if the School Designee concludes that there is sufficient information to sustain a finding of responsibility, the School Designee may impose or defer one or more of the sanctions listed herein.. Referral to the Student Conduct Committee - If the student does not admit responsibility, and if the School Designee concludes that an Agreement of Resolution (see below) is not appropriate, and that there is sufficient information to sustain a finding that it is more likely than not that the student has violated the Musicians Institute Student Conduct Code, the School Designee will refer the case to the Student Conduct Committee for a hearing. 3. At any time until the Student Conduct Committee Recorder makes report of the hearing decision, the student may make an admission of responsibility to the School Designee assigned to the case. The School Designee may then impose or defer one or more of the sanctions listed herein. This disposition is binding and terminates all Student Conduct Committee proceedings.. Insufficient Evidence - If the School Designee concludes that there is insufficient information to find the student responsible, the case will not be referred to the Student Conduct Committee for a hearing. 5. Agreement of Resolution - When the School Designee and the student agree that the above dispositions are not appropriate, an Agreement of Resolution may be used to conclude the matter. This Resolution, while not considered to be a finding of responsibility, is binding. If the student fails to abide by the terms of the Agreement of Resolution, that failure may be regarded as actionable misconduct and may subject the student to disciplinary action by the school. 6. An Agreement of Resolution includes but is not limited to such terms as: Agreement by the student to refrain from specific behaviors, and/or to refrain from contacting others involved in the case; Agreement by the student to participate in specified educational programs, counseling, and/or reconciliation processes such as mediation. The Agreement of Resolution will be retained in the case file in the Office of Registrar Records for seven years from the date of the Agreement. During that time, should the school have a reasonable basis to believe that the student has engaged in misconduct related in nature to the conduct which occasioned the Agreement, both cases may be the subject of Musicians Institute disciplinary action. F. Sanctions When a student admits responsibility or is found in violation of Musicians Institute policies or regulations, the School Designee may impose one or more of the sanctions listed in this Section; any sanction may be effective retroactively. Any sanction imposed will be appropriate to the violation, taking into consideration the context and seriousness of the violation, and may include required enrollment in and completion of educational programs, classes, activities, or workshops, which in the judgment of the School Designee will be beneficial to the student. Where it is more likely than not that a violation of Musicians Institute policies or regulations has been committed against any person or group because of the person s or group s race, color, religion, ancestry, national origin, disability, gender, or sexual orientation, or because of the perception by the student charged with the violation that the person or group has one or more of those characteristics, the recommendation or imposition of sanctions will be enhanced, and usually will result in Suspension or Dismissal. Sanctions include but are not limited to: Exclusion from Musicians Institute Campus, Facilities or Official Functions Exclusion of a student as part of a disciplinary action from specified areas of the campus or Musicians Institute-owned, -operated or -leased facilities, or other facilities located on Musicians Institute or affiliated property, or from official Musicians Institute functions when there is reasonable cause for Musicians Institute to believe that the student s presence there will lead to physical abuse, threats of violence, or conduct that threatens the health or safety of any person on Musicians Institute property or at official Musicians Institute functions, or other disruptive activity incompatible with the orderly operation of the campus. Loss of Privileges and Exclusion from Activities - Exclusion from participation in designated privileges and extracurricular activities for a specified term or terms. Violation of any conditions in the notice of loss of privileges and exclusion from activities or violation of Musicians Institute policies or regulations during the period of the sanction may be cause for further disciplinary action. Restitution - A requirement for restitution in the form of reimbursement may be imposed for expenses incurred by Musicians Institute or other parties resulting from a violation of the Musicians Institute Student Conduct Code. Such reimbursement may take the form of monetary payment or appropriate service to repair or otherwise compensate for damages. Restitution may be imposed on any student who alone, or through group or concerted activities, participates in causing the damages or costs. Musicians Institute shall not be responsible for collecting restitution assessed to or incurred by any parties other than Musicians Institute. Warning/Censure - Notice or reprimand to the student that a violation of specified Musicians Institute policies or regulations has occurred and that continued or repeated violations of specified Musicians Institute policies or regulations may be cause for further disciplinary action, normally in the form of Disciplinary Probation, and/or Loss of Privileges and Exclusion from Activities, Suspension, or Dismissal. Disciplinary Probation - A status imposed for a specific period of time in which a student must demonstrate conduct that conforms to Musicians Institute standards of conduct. Conditions restricting the student s privileges or eligibility for activities may be imposed. Misconduct during the probationary period or violation of any conditions of the probation may result in further disciplinary action. Hold on Musicians Institute Records - A hold may be placed on the student s Musicians Institute records for either a stated period or until the student satisfies any conditions imposed as part of another sanction. The placement of a Hold on the student s Musicians Institute records may, for example, prevent the student from registering and from obtaining transcripts, verifications, or a degree from Musicians Institute. Suspension - Suspension is the termination of student status for a specified academic term or terms, to take effect at such time the School Designee or Musicians Institute decides. After the period of Suspension, the student will be reinstated if:»» The student has complied with all conditions imposed as part of the Suspension;»» The student is academically eligible;»» The student meets all requirements for reinstatement including, but not limited to, removal of Holds on records, GENERAL 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

105 POLICIES POLICIES GENERAL payment of restitution where payment is a requirement of reinstatement; and»» The student meets the deadlines for filing all necessary applications, including those for readmission, registration, and enrollment. Suspension may include a prohibition against entering specified areas of the campus. Violation of the conditions of Suspension or of Musicians Institute policies or regulations during the period of Suspension may be cause for further disciplinary action. Dismissal - Dismissal is the termination of student status for an indefinite period and may include an exclusion from specified areas of the campus. Readmission to the Musicians Institute campus, facilities, or properties after Dismissal may be granted only under exceptional circumstances and requires the specific prior approval of Musicians Institute. Revocation of Awarding of Degree - Should it be found that a degree, certificate, or award was obtained by fraud, such degree, certificate, or award is subject to revocation. Such revocation is subject to review on appeal by Musicians Institute. G. Posting of Suspension or Dismissal on Academic Transcript When, as a result of violations of the Student Conduct Code, a student is suspended or dismissed, the fact that the discipline was imposed must be posted on the academic transcript for the duration of the Suspension or Dismissal. H. Appeal of the Sanction If the School Designee imposes a sanction of Suspension or Dismissal, the student may submit a written appeal of the imposed Suspension or Dismissal to the Director of Student Affairs within seven days of the date of notice from the School Designee of his or her action. The imposition of a sanction of Suspension or Dismissal may be deferred during such appeal. If, as a result of an appeal, it is determined that the student was improperly disciplined, the Office of Registrar will, if requested by the student, have the record of the hearing sealed and have any reference to the disciplinary process removed from the student s record. In such case, the record of the hearing may be used only in connection with legal proceedings. I. The Student Conduct Committee When a case is referred to the Student Conduct Committee for a hearing, the following will be provided to the student to ensure a fair hearing: Written notice, including a brief statement of the factual basis of the charges, the Musicians Institute policies or regulations allegedly violated, and the time and place of the hearing, within a reasonable time before the hearing; The opportunity for a prompt and fair hearing where the school will have the responsibility of proving that it is more likely than not that a violation occurred; The opportunity to present documents, defense and witnesses; A written report including a summary of the findings of fact, and, at the request of the student, access to a copy of a record of the hearing; An appeal process.. Referral of Cases to the Student Conduct Committee - A hearing will be provided for all cases referred to the Student Conduct Committee under the Musicians Institute Student Conduct Code.. Composition - The Student Conduct Committee will consist of three individuals possibly including, but not limited to, a member of faculty, a member of Musicians Institute management, a member of Musicians Institute staff, and a member of Musicians Institute Directorship. One member of the Committee will act as Hearing Recorder. 3. Scheduling of Hearing - It is the intention of the Musicians Institute Student Conduct Code that hearing will be set as soon as reasonably possible after referral to the Student Conduct Committee. Events such as holidays, school closures, of forces of nature may require an extended timeline.. Hearing Procedures and Standards - Hearings will be held in accordance with generally accepted standards of procedural due process. If a student absents himself or herself from the disciplinary process, or has withdrawn from Musicians Institute while subject to pending disciplinary action, the case may proceed to disposition without the student s participation. Attendance at such hearings will be at the discretion of Musicians Institute. 5. Continuing Resolution between the Student and Musicians Institute - Until the Student Conduct Committee publishes its decision to Musicians Institute Senior Management and the student; the student may make an admission of responsibility to the School Designee assigned to the case. The School Designee may then impose or defer one or more of the sanctions listed herein. Any sanction may be effective retroactively. This disposition of the matter will bind all parties and terminate all proceedings. 6. Reports of Student Conduct Council Hearing Decision to Musicians Institute Senior Management and Student - Within 5 days after the conclusion of a hearing, the Student Conduct Committee Recorder will submit a notice of the Committee decision to Musicians Institute Senior Management and the student. This notice will include: a. A summary of the allegations and the outcome of the Committee examination of the information concerning the alleged misconduct, including the positions of the parties and a summary of the evidence presented; b. Whether, in the opinion of a majority of the Committee, the student has violated one or more of the Musicians Institute policies or regulations that the student has been charged with violating; and c. A decision of sanction based on those conferred in similar cases and in any previous cases of misconduct by the accused student on file with the Office of Registrar Records. Such sanction shall be carried out by all relevant parties on the timeline decided by the Committee. J. Appeal by Student. When a student has appealed in writing a decision or sanction by Musicians Institute, the final decision regarding the outcome will be made by Senior Management, which will review the evidence and findings and may engage in further research to ensure that the process above has been carried out fairly and in accordance with due process. Within 0 days of the submission of appeal, Senior Management will notify the student as to the decision on the appeal. The decision of Senior Management will be final and complete.. When reviewing a student s appeal of a sanction of Suspension or Dismissal, decision may be based upon: a. Any written appeal submitted by the student regarding the sanction; and b. Information from the Office of Registrar Records regarding sanctions imposed in similar cases and any previous cases of misconduct by the student on file. 3. The written decision will be delivered to: a. The student and his or her representative, if any; b. The Musicians Institute Office of Registrar; and c. Other Musicians Institute departments/ employees as necessary to carry out sanctions. The results of any hearing in which sexual harassment, sexual assault, sexual misconduct, or sex offenses are alleged will be disclosed to the alleged victim by the School Designee. The scope of information to be provided under this provision will be: I. Musicians Institute s final determination with respect to the alleged sexual harassment, sexual assault, sexual misconduct, or sex offense; and II. Any sanction that is imposed against the alleged offender with respect to the alleged sexual assault, sexual misconduct, or sex offense. K. Interim Suspension Before final determination of an alleged violation, Interim Suspension may be imposed by the School Designee. Interim Suspension may include exclusion from the Musicians Institute campus, facilities, classes, or from other specified activities. A student will be restricted to the extent necessary when there is reasonable cause to believe that the student s participation in Musicians Institute activities or presence at specified areas of the campus will lead to physical abuse, threats of violence, or conduct that threatens the health or safety of any person on Musicians Institute property or at official Musicians Institute functions, or other disruptive activity incompatible with the orderly operation of the campus. Upon imposition of the Interim Suspension, the School Designee will notify the student under the Interim Suspension of the charges against him or her, the length and conditions of the Interim Suspension and the opportunity for a hearing. Appeals concerning the contention that the Interim Suspension is unnecessary or that its conditions should be modified shall be made in writing to the School Designee and decisions thereon shall be based on information contained therein and upon whether there is reasonable cause to believe that the student s participation in Musicians Institute activities or presence at specified areas of the campus will lead to physical abuse, threats of violence, or conduct that threatens the health or safety of any person on Musicians Institute property or at official Musicians Institute functions, or other disruptive activity incompatible with the orderly operation of the campus. Disciplinary proceedings involving students on Interim Suspension will follow normal procedures provided in the Musicians Institute Student Conduct Code. L. Privacy and Records Retention Student discipline records are confidential. The disclosure of information from such records is subject to the Musicians Institute Policies Applying to Campus Activities, Organizations and Students, the California Information Practices Act ( ed.gov/policy/gen/reg/ferpa/index.html), and the Family Educational Rights and Privacy Act (www. ed.gov/policy/gen/ reg/ferpa/index.html). The Office of Registrar retains student discipline records for seven years from the date of the notice of final disposition. When there have been repeated violations of the Musicians Institute Student Conduct Code, all student discipline records pertaining to an individual student will be retained for seven years from the date of the final disposition in the most recent case. In those cases where the final disposition is Dismissal, the student s discipline records will be retained indefinitely. Upon receipt of a request from professional schools, graduate programs, employers, or others, for the disciplinary records of a student, after the student provides an appropriate confidentiality waiver, the Office of Registrar will only report and/or release records where violations resulted in Suspension and/or Dismissal, both imposed and deferred, or GENERAL 06 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

106 GENERAL POLICIES the revocation of the awarding of a degree. Should the requesting party seek broader disclosure of a student s discipline record, the Office of Registrar will not provide additional records or information. M. Amendment and Modification Amendment of the Musicians Institute Student Conduct Code may be made by Musicians Institute at any time. Before adoption, Musicians Institute will review any and all measures, rules, and policies for consistency with common academic policies (where appropriate) as well as with State or Federal policies. Musicians Institute will not refund tuition to students for lost privileges or lost access to MI s campus and facilities or classes, tests, performances, lessons, appointments, or other activities and events resulting from a disciplinary action except as required by State or Federal policies. STUDENT RIGHTS Musicians Institute is licensed to operate in the State of California through the Bureau for Private Postsecondary Education. If you have any complaints, questions, or problems, you are encouraged but not required to try to resolve them directly with the school. At any time, you may write or call: Bureau for Private Postsecondary Education 535 Capitol Oaks Drive, Suite 00 Sacramento, CA Toll Free: (888) Phone: (96) Fax: (96) Website: NON-DISCRIMINATION POLICY Musicians Institute is committed to creating and maintaining a community in which all persons who participate in MI programs and activities can work together in an atmosphere free of all forms of harassment, discrimination, exploitation or intimidation on the basis of race, religion, national origin, sexual orientation, disability or sex, including sexual harassment. It is the intention of MI to take whatever action may be needed to prevent, correct, and, if necessary, discipline behavior that violates this policy. MI prohibits discrimination against members of the MI community by any student, staff, faculty, or third-party contractors brought on campus for the purpose of conducting business with MI. Discrimination of any kind is against MI policy and is prohibited under State and Federal laws. Any student who believes that he or she has been the victim of sexual harassment or other discrimination should contact the Title IX Coordinator: Dean of Compliance and Assessment Musicians Institute College of Contemporary Music 675 Hollywood Boulevard Hollywood, CA 9008 (33) tengfer@mi.edu Note: Comprehensive information on sexual harassment policy and procedure can be obtained in the Student Affairs Office. Complaints may be submitted to the Student Affairs Office or delivered to the Title IX coordinator at the address above. Students may also make verbal complaints directly to the Title IX Coordinator (or other MI personnel). Complaints of illegal sexual harassment must be received within one year of the date of the last alleged incident. Complaints to the Office of Civil Rights at the Office of Academic Affairs must be made within six months of the date of the last alleged incident. Students may also make report to the individuals below and/or to any MI employee. Security Manager: Mike Hinksmon (mikeh@mi.edu) (33) Student Affairs Supervisor: Elliott Maude (maudee@mi.edu) (33) Public Safety (33) LIABILITY DISCLAIMER Musicians Institute is not responsible for loss of, or damage to, personal property and/or personal injury that may occur while on the Institute s premises. STUDENTS RIGHT TO KNOW MI is committed to providing current and prospective students as well as the campus community with full disclosure of all consumer information as required by Federal regulations. The laws are intended to allow students the opportunity to make fully informed choices about the institution they wish to attend. Crime statistics are available on the website and at Campus Security Office. Completion Statistics and Transfer Out Rate are shown on the School Performance Fact Sheet available in the Registrar s Office. SAFETY ON CAMPUS Campus security information is provided to prospective students via mail in their acceptance package. Currently enrolled students receive notification in October each year that the updated campus security report is available on the MI website. Additional information, including the Crime Statistics Report, may be obtained by a visit or written request to the Student Affairs Office. GRADUATION RATE INFORMATION Information on graduation and completion rates is sent to prospective students via mail along with their acceptance letters, or can be accessed online at collegenavigator. Currently enrolled students receive an notification in July to review the annual completion rates on the college navigator website. Students may also request a hard copy from the Registrar s Office. DRUG-FREE SCHOOLS AND COMMUNITY ACT Drug and alcohol abuse prevention information is given to all students at the time of registration and is also available from the Student Affairs and/or Admissions Department upon request. FINANCIAL AID INFORMATION Information about financial aid that is not already provided in the current Course Catalog may be obtained from the Financial Aid Office. FAMILY EDUCATIONAL RIGHTS AND PRIVACY ACT (FERPA) This Act entitles students to specific privacy rights with respect to their academic records and student directory information. Student directory information is considered to be name, address, telephone number, and certain schoolrelated information. At Musicians Institute, student records and information may only be provided to the student or specific parties authorized in writing by the student, a Musicians Institute employee, representatives of Federal or State agencies, accrediting organizations, auditors, or other officials authorized under the Act. FERPA information is provided to students during the enrollment process. Currently enrolled students may obtain FERPA information upon request from the Registrar s Office. For additional information please refer to the MI Student Handbook maintained on the Student Affairs section of the student portal. NOTIFICATION OF STUDENT RIGHTS UNDER FERPA FOR MUSICIANS INSTITUTE The Family Educational Rights and Privacy Act (FERPA) affords students certain rights with respect to their education records. These rights include:. The right to inspect and review the student s education records within 5 days of the day that Musicians Institute receives a request for access. A student should submit to the Registrar, or Director of the Registrar and Scheduling, a written request that identifies the record(s) that the student wishes to inspect. The designated official will make arrangements for access and notify the student of the time and place where the records may be inspected.. The right to request the amendment of the student s education records that the student believes are inaccurate, misleading, or otherwise in violation of the student s privacy rights under FERPA. A student who wishes to ask Musicians Institute to amend a record should write the Registrar, clearly identify the part of the record the student wants changed, and specify why it should be changed. If Musicians Institute decides not to amend the record as requested, the student will be notified in writing of the decision as well as the student s right to a hearing regarding the request for amendment. Additional information regarding the hearing procedures will be provided to the student when notified of the right to a hearing. 3. The right to request, in writing, that Musician s Institute not disclose personally identifiable records, except to the extent that FERPA authorizes disclosure to school officials with legitimate educational interests. A school official is: a person employed by Musicians Institute in an administrative, supervisory, academic or research, or support staff position (including law enforcement unit personnel and health staff); a person or company with whom Musicians Institute has contracted as its agent to provide a service instead of using Musicians Institute employees or officials (such as an attorney, auditor, or collection agent); a person serving on the Board of Trustees; or a student serving on an official committee, such as a Disciplinary or Grievance Committee, or assisting another school official in performing his or her tasks. A school official has a legitimate educational interest if the official needs to review an education record in order to fulfill his or her professional responsibilities for the school.. The right to file a complaint with the U.S. Department of Education concerning alleged failures by Musicians Institute to comply with the requirements of FERPA. The name and address of the office that administers FERPA is: Family Policy Compliance Office U.S. Department of Education 00 Maryland Avenue, SW, Washington, D.C POLICIES WITHDRAWAL, TERMINATION & REINSTATEMENT WITHDRAWAL FROM A PROGRAM A student who has completed less than 60% of his/her quarterly enrollment has the right to withdraw from a program and receive a pro-rated refund (based on a weekly attendance calculation & less any registration fees, nonrefundable fees and/or charges for unreturned equipment, materials, or textbooks) by providing written notice to Student Affairs by close of business on Friday of Week 6. NOTE: Attendance in any class meeting/session (and/ or swipe-in attendance) within a week (Monday-Sunday) is considered as attendance for that week. Any monies owed to Musicians Institute are due and payable on the date of the withdrawal. A withdrawal is effective on the date it is received by Student Affairs, whether personally delivered or postmarked (if mailed). No withdrawals will be accepted by telephone. Refunds are calculated based on the last recorded date of attendance (either classroom attendance or scan-in). The calculation is based on the length of the completed portion of the quarter relative to its total length (0 weeks of instruction effective on the official start date of the term). No refunds will be issued after Week THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, GENERAL

107 GENERAL POLICIES SAMPLE OF REFUND CALCULATION: For example, if a student withdraws after three weeks in the Audio Engineering Program, the refund calculation is shown below: Tuition cost $7, STRF fee ($.00 per $,000 tuition)(non Refundable) $0.00 Application fee $00.00 Materials fee $75.00 Per quarter technology fee $5.00 Course facility fee $ Total tuition cost $8, Tuition retained by College 3 weeks completed) $, Application fee retained by College $00.00 Material fee retained by College $75.00 Technology fee retained by College $5.00 Facility fee retained by College $3.00 Total amount retained by College $,78.00 Refund issued to student $5, Musicians Institute discloses education records without a student s prior written consent under the FERPA exception for disclosure to school officials. TERMINATION FROM A PROGRAM A student may be terminated from a program for reasons including but not limited to the following: Violation of student conduct policies. Failure to pay tuition or fees. Continuous absence from a program for three consecutive weeks. Three consecutive quarters of non-satisfactory academic progress (see Satisfactory Academic Progress). For information on returning to Musicians Institute after termination, please see Reinstatement to Musicians Institute. REINSTATEMENT TO MUSICIANS INSTITUTE Terminated students wishing to return to MI must apply for reinstatement. Requests for reinstatement will be reviewed by a panel consisting of members of Musicians Institute management. Decisions will be made based on the reason for termination, the needs of the college and students as well as the student s overall performance. Reinstatement to the college may be contingent upon adherence to conditions and/or plans as stipulated by Musicians Institute such as academic or payment plans, safe conduct provisions, etc. Failure to adhere to these conditions/plans may result in termination from the program. depending on the performance level of the individual student. Program requirements are revised periodically in response to changes in industry standards and in an effort to provide the best education possible. As such, prior to re-enrolling, returning students must meet with Academic Advising for a degree audit evaluation. The Academic Advising team will assess which courses completed previously are relevant to the current program as well as which requirements remain in order for the student to graduate. COPYRIGHT INFRINGEMENT POLICY INTRODUCTION Copyright infringement is the act of exercising, without permission or legal authority, one or more of the exclusive rights granted to the copyright owner under section 06 of the Copyright Act (Title 7 of the United States Code). These rights include the right to reproduce or distribute a copyrighted work. In the file-sharing context, downloading or uploading substantial parts of a copyrighted work without authority constitutes an infringement. The Higher Education Opportunity Act of 008 (HEOA) includes provisions that are designed to reduce the illegal uploading and downloading of copyrighted material through peer-to-peer sharing. Institutions make an annual disclosure that informs students that the illegal distribution of copyrighted materials may subject them to criminal and civil penalties, and describes the steps that institutions will take to detect and punish illegal distribution of copyrighted materials. Institutions publicize alternatives to illegal file sharing. This document outlines Musicians Institute s plan to comply with these requirements. PLANS TO EFFECTIVELY COMBAT THE UNAUTHORIZED DISTRIBUTION OF COPYRIGHTED MATERIAL Musicians Institute currently employs bandwidth-shaping technology to prioritize network traffic, and blocks students ability to access certain sites from the student computer networks. Musicians Institute responds promptly to legitimate notices or letters of illegal copyright infringement based on the requirements of the Digital Millennium Copyright Act, and directs both our Information Technology and Compliance departments to investigate and respond. infringement may be ordered to pay either actual damages or statutory damages affixed at not less than $ and not more than $30,000 per work infringed. For willful infringement, a court may award up to $50,000 per work infringed. A court can, in its discretion, also assess costs and attorney fees. For details, see Title 7, United States Code, Sections 50, 505. Willful copyright infringement can also result in criminal penalties, including imprisonment of up to five years and fines of up to $50,000 per offense. For more information, please see the website of the U.S. Copyright Office at especially their FAQs at MAINTENANCE OF THIS PLAN Musicians Institute will review this plan each year to ensure it is current and maintains the appropriate and necessary information to effectively combat illegal file sharing, as well as update the methods employed as new technological deterrents become available. OWNERSHIP & ADMINISTRATION Director of Admissions Steve Lunn Dean of Enrollment Paul Weinstein Admissions Administrative Supervisor Lola Quintana Sr. Admissions Advisor Vin K. Chhabra Sr. Admissions Advisor Brenda Budhram Sr. Admissions Advisor Gary Younger Sr. Admissions Advisor Jay Goodger Sr. Admissions Advisor Michael Coleman Sr. Admissions Advisor Rose Mikayelyan Sr. Admissions Advisor Valerie Smith Admissions Advisor Lorena Alvarez Admissions Advisor Michael Johnson Admissions Advisor Victoria Green Admissions Coordinator Ben Lam Admissions Coordinator Tanushree Verma FINANCIAL AID Director of Student Financial Services Michael Hong Assistant Director of Financial Aid/VA Coordinator Melissa Cuesta-Booker Financial Aid Officer Erick Gonzalez Financial Aid Officer Guillermo Noboa Financial Aid Officer Marites Arias Financial Aid Officer Crystina Anderson Default Prevention Alejandra Quijada ADMINISTRATION Director of International Student Affairs Dan Diaz REGISTRAR/ACADEMIC ADVISING Manager of Student Records Jim McMains Academic Advisor Shaun Vieten Registrar Services Cheyenne Melton Registrar Services Phillip Williams OFFICE OF ACADEMIC AFFAIRS Vice President of Academic Affairs Donny Gruendler Dean of the School of Performance Studies, Program Chair: Keyboard Dr. Rachel Yoon Dean of the School of Industry Studies, Program Chair: Audio Engineering Jonathan Newkirk Dean of Compliance and Assessment Tom Engfer Program Chair: Bass Maurice Verloop Program Chair: Guitar Dr. Stig Mathisen Program Chair: Drums Stewart Jean Program Chair: Vocals Debra Byrd Program Chair: Independent Artist Development, and DJ Performance & Production Charles Chemery Program Chair: Music Business Stacy Turner Program Chair: Guitar Craft Paul Roberts Program Chair: Common Course Dept. Ronald Dziubla Lead Scheduler Danielle Martin TA Scheduling Supervisor Justin Apergis Librarian Julie Bill Learning Management System Administrator - Marc Prado OFFICE OF BUSINESS & FINANCE Director of Accounting Cesar Lopez Accounting Supervisor Sandra Sposato Staff Accountant Claudia Melgar Player Supply Store Manager Nathan Javier INSTRUCTIONAL + INFORMATION TECHNOLOGY SERVICES IITS Supervisor Tim Metz Network Administrator Ramil Gravia Programmer/Analyst Pavel Grygoryants Support Analyst Ando Lalayan CAMPUS SECURITY Security Manager Mike Hinksmon Title IX Coordinator Tom Engfer IITS STUDIO AND CLASSROOM TECHNOLOGY OFFICE (SACTO) Studio & Classroom Technology Manager Krystal Parks SANCTIONS Studio Technician Jiho Choi Students who have been terminated from a program for SAP Musicians Institute will cooperate fully with any investigation Studio Technician Kevin Estrada are not eligible to continue in said program. Students in such by public authorities related to illegally downloaded ARTIST SUPPORT CENTER Studio Technician Matt Nollora situations may reapply as a new student for admission to said copyrighted information. Students found guilty will be subject Interim Director of Career Development Jonathan Newkirk Studio Technician Shaun Perez programs after a minimum two-year hiatus. to the full extent of fines and penalties imposed, as well as Alumni Coordinator Megan Doheny Studio Technician Jonathan Wang Students who have been inactive for two or more years may be facing automatic loss of Musicians Institute network access, Manager of Artist Services - Jace McDonald Studio Support Specialist Cris Cordero required to complete a placement exam prior to re-enrolling. and possible suspension. Artist Services Lena Tufenkjian Studio Support Specialist John Clark A performance evaluation may result in advanced placement Penalties for copyright infringement include civil and criminal Internship Coordinator Carolann Mota Studio Support Specialist Alan DeMoss penalties. In general, anyone found liable for civil copyright Student Affairs Supervisor Elliott Maude Studio Support Specialist Robert Reed Housing Coordinator Rossana Brassea 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. GENERAL

108 GENERAL FACULTY BIOS BACHELOR YOON, RACHEL DEAN OF THE SCHOOL OF PERFORMANCE STUDIES ADMINISTRATOR SPECIALTIES: Educator, Composer, Orchestrator, Arranger, Performer, Music Director CREDITS: Executive Music Director of national project Stellar Whisper in Seoul, Korea. Performed with Yellowjackets and Shapes. Played Walt Disney Concert Hall and Hollywood Bowl. HONORS & EDUCATION: Ph.D. in Music Composition (U.C.L.A.), Master of Music & Bachelor of Music - Music Composition (Seoul National University) BAGG, JOSEPH COURSES: Ear Training, Keyboard Voicings, Groove, Keyboard Reading, Keyboard Performance SPECIALTIES: Jazz Musician, Educator, Recording Artist CREDITS: Option 3, Bobby Hutcherson, Larry Coryell, Alphonse Mouzon, Jack Sheldon, Anthony Wilson, Madeleine Peyroux, Lea Delaria, Arthur Blythe, Marvin Smitty Smith HONORS & EDUCATION: Masters Degree (Mason Gross School of the Arts, Rutgers). Appeared in Downbeat Magazine s Critics & Readers Polls BILTON, CHRIS COURSES: Private Lessons, Digital Music, Logic, Synthesis and Sampling, Open Counselling, Project Advising, Composition Lab, Project Recording, Producer Project SPECIALTIES: Piano, Instructor, Film Scoring, Songwriting, Production, Touring, Music Business CREDITS: Marc Jordan, Alison Krauss, Ron Sexsmith, Dan Hill, Timothy B. Schmit, Johnny Reid, Dala, Adaline, Jane Siberry, Zoe Sky Jordan, Jim Brickman, Olivia Newton-John, Adam Crossley, Degrassi: The Next Generation (MTV), Lost Girl (Showcase), Grey s Anatomy (ABC), The Adventures Of Napkin Man (CBC), The Listener (CTV), The Vampire Diaries (CW), Little Mosque On The Prairie (CBC), Dance Moms (Lifetime), Cracked (CBC) HONORS & EDUCATION: Honors & Education: Berklee College of Music (Film Scoring) BUZEA, CHRIS COURSES: Ear Training, Theory, Computer Music Applications-Sibelius, Private Lessons SPECIALTIES: Guitarist, Educator HONORS & EDUCATION: Bachelor of Music in Performance, Contemporary Styles (Guitar) - Musicians Institute CHO, MICHELLE COURSES: Ear Training, Keyboard Proficiency, Bach Keyboard Reading, Counterpoint, BACH Keyboard Private Lesson, Independent Study SPECIALTIES: Keyboardist, Educator, Arranger CREDITS: Los Angeles Chamber Choir, California Children s Choir, Bethel Choir at YNC of Los Angeles, Shepherd University HONORS & EDUCATION: Master of Music University of Southern California, Professional Diploma in Music at Berklee College of Music, Bachelor of Music (Seoul National University) COLELLA, JEFFREY COURSES: Bachelor Ensemble, Jazz Performance Class, Groove 5 & 6, Private Lessons and Independent Study SPECIALTIES: Piano Teacher, Jazz Improviser, Recording Artist, Arranger, Composer CREDITS: Putter Smith, Judy Wexler, Julie Kelly, David T. Walker Quartet, American Jazz Institute, Capri Records, JazzMedia Records, New York Philharmonic, Denver Symphony, Kennedy Center Orchestra HONORS & EDUCATION: Master of Music - Jazz Studies (USC Thornton School of Music), Bachelor of Music in Piano Performance & Pedagogy (University of Colorado College of Music) FLIGSTEN, ADAM COURSES: Scoring, Private Lessons SPECIALTIES: Composer for TV, Commercials, Films and Games CREDITS: Written music for NBC, CBS, ABC, The Discovery Channel, SYFY, Comedy Central, HBO Films, Radio Shack & more HONORS & EDUCATION: UCLA Film Scoring Program, The New School, Pitzer/Scripps College FACULTY BIOS GORDON, AMY COURSES: Theory, Arranging, Private Lessons (Composition) SPECIALTIES: Composer, Singer-Songwriter, Educator CREDITS: Self-Published Singer-Songwriter, CSULB Laptop Ensemble, LMU Gamelan Kembang Atangi, Music Rhapsody, The Hills Academy of Music & Art HONORS & EDUCATION: Master of Music, California State University, Long Beach; Bachelor of Arts, Loyola Marymount University, Finalist in Song Door International Songwriting Competition HUME, PETER COURSES: Arranging, Conducting, Single String Improvisation, Reading, Jury Prep, Private Lessons SPECIALTIES: Musical Director, Arranger, Conductor, Guitarist, Producer, Educator CREDITS: Melissa Manchester. Performed on film scores for Disney, Universal, PBS, and more HONORS & EDUCATION: Professional Music Diploma, Berklee College of Music KITAURA, MAMIKO COURSES: Keyboard Technique, Accompaniment SPECIALTIES: Jazz Pianist, Composer, Educator CREDITS: Arturo Sandoval, Bob Sheppard, Dave Koz, Gordon Goodwin, Monica Mancini, Nate Smith, Tom Scott, Toshi Nagai HONORS & EDUCATION: Master and Bachelor of Music, Eastman School of Music, Meet the Composer Award MANCZUK, MARK COURSES: Drum Technique (various styles), Open Counseling, Private Lessons, Joe Zawinul/Weather Report Ensemble SPECIALTIES: Drummer & Multi-percussionist covering: Funk, Hip-hop, Jazz, Rock, Gospel, Blues, Metal, West African styles for the drum-set, Salsa, Arabic styles, and North Indian Hindustani concepts applied to the drum-set. In depth experience with the Free Stroke and Moeller Stroke Techniques as they apply to the hands and double bass performance. Technique coaching for injury prevention and care. CREDITS: Doug Wimbish Allstars, Rapper s Delight/Sugarhill Gang, David Ellefson, Skip McDonald, Paul Pesco, Kaissa, Ryan Cross, Coulon, Joel Hamilton (producer), and Célia Faussart of Les Nubians. HONORS & EDUCATION: Cum Laude Northeastern University BS, Magna Cum Laude Pace University MST. Experience touring and studying globally. LAU, LINUS COURSES: Ear Training, Keyboard Technique, Digital Music, Final Cut Pro X, imovie, Music Video Boot Camp, Private Lessons SPECIALTIES: Composer and educator, with several years of specialization in film and film trailers. Expertise in scoring, arranging, and take-down. CREDITS: Music has been featured in a variety of media including video games, documentaries and feature films. His trailer work includes the Paul Greengrass title Captain Phillips and Soderbergh s Side Effects. Feature film Credits: include: Nature, Love and Politics, and the upcoming indie comedy Bread and Butter, starring Bobby Moynihan of SNL fame.former touring keyboardist for Killola, pianist for jazz group The Glen Rosevelt, Steinway Society Pianist, endorsements with Focusrite/Novation, ArtistRelations, Nord. HONORS & EDUCATION: Master of Fine Arts in Film Production, University of Southern California (USC). Bachelor of Arts in Music Composition, School of Cinema-Television, Santa Clara University. Certificate in Scoring for Motion Pictures and Television, UCLA. Member of the Music Teacher s Association of California, Society of Composers and Lyricists. LEVIN, DANIEL COURSES: Theory, Composition Private Lessons, Scoring, Composers Ensemble SPECIALTIES: Composer, Orchestrator, Pianist CREDITS: Orchestrations for Winnipeg Symphony, Santa Fe Symphony, Sarah McLachlan, Hayley Westenra, and Andrea Corr HONORS & EDUCATION: Master and Bachelor of Music, Indiana University Jacobs School of Music; Awards from DownBeat magazine, Turner Classic Movies Young Film Composers Competition, San Francisco Song Festival MEDEIROS, LYMAN COURSES: Funk Performance, Prince Performance, Upright Bass Workshop, R&B LPW, American Songbook LPW, Private Lessons SPECIALTIES: Freelance Bassist, Arranger, Producer, Educator CREDITS: Michael Buble, Steve Tyrell, Diane Schuur, Lou, Soloff Gabriel Johnso HONORS & EDUCATION: Bachelor of Music, Ball State University. Masters of Music, Western Michigan University. Endorsed by Dean Guitars & Lemur Music. GENERAL THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 3

109 GENERAL FACULTY BIOS ROBBINS, IAN COURSES: Bachelor Ensemble, Rhythm Guitar, Blues Based Rock Performance, Fusion Performance, Riff Based Speed Punk Performance, K POP LPW, Private Lessons SPECIALTIES: Musician, Educator CREDITS: Barry Manilow, Bonnie Raitt, Bruce Eskovitz Jazz Orchestra, Wynton Marsalis, Toni Tennille, Louis Belson, Peter Erskine, Scott Henderson, Ernie Watts, Bill Watrous, Kurt Elling, Eric Marienthal, Brian Bromberg. Founder of the punk rock band Get Out. HONORS & EDUCATION: Bachelor of Music in Studio/Jazz Guitar Performance, University of Southern California. 997 NARAS Grammy All Star Jazz Combo, SCSBOA Jazz All Star Band. Outstanding Musician award from Berklee College of Music. ROSENN, JAMIE COURSES: Single String, Harmony, Jazz Icons Performance, Private Lessons SPECIALTIES: Jazz Musician, Educator CREDITS: JoE-LeSs shoe, Option 3, Sigmund Fudge, Los Angeles Jazz Collective, U.S. Jazz Ambassadors HONORS & EDUCATION: Master and Bachelor of Music. New England Conservatory of Music, M.A. CalArts, Featured in the book The Great Jazz Guitarists. VILLANO, THOMAS COURSES: Mechanics of Score Production ll SPECIALTIES: Music Editor, Music Supervisor CREDITS: David Newman, Basil Poledouris, Tyler Bates, Craig Richey, Michael Kamen, Joel McNeely, Dave Porter HONORS & EDUCATION: Bachelor of Arts CSUDH, Emmy Awards for Lonesome Dove & Young Indiana Jones, MPSE Awards for Anastasia & The Temptations BASS VERLOOP, MAURICE BASS PROGRAM CHAIR SPECIALTIES: Bassist- Electric, Curriculum Development CREDITS: Zakk Wylde, Alessandro Cortini, Ray Luzier, Shannon Larkin, Carl Anderson, Reba McIntyre. Endorsed by Ashdown Engineering (amps) and Moollon Basses. HONORS & EDUCATION: Honors grad from MI, Instructor of the Year (twice) and Outstanding Student Awards. APERGIS, JUSTIN COURSES: Bass Reading, Upright Bass Workshop, Odd Meter Bass SPECIALTIES: Bassist-Upright and Electric CREDITS: Joe Sample, Bass Player Live, NAMM s Museum of Making Music HONORS & EDUCATION: University of North Texas, Berklee College of Music DWYER, MICHAEL COURSES: LPWs, Intro to Bass, Private Lessons SPECIALTIES: Bassist- Electric CREDITS: Necktie Social with ESPN and appearances on The Real Housewives of Orange County FRANK, DEREK COURSES: LPWs, Technique, Reading, Performance SPECIALTIES: Bassist- Electric CREDITS: Palaye Royale, Victoria Justice, Mindi Abair, Troy Harley, Brian Auger s Oblivion Express, Aly & AJ HONORS & EDUCATION: Bachelor of Music from University of Miami, Interlochen Arts Academy in Michigan HALL, ROBERT COURSES: Harmony Theory 0 and 0, Ear Training 0 and 0, Bass Reading, Earth Wind & Fire LPW, Private Lessons SPECIALTIES: Bassist-Upright and Electric, Finale Skills, Curriculum Development CREDITS: US Navy Band New Orleans, ELAN Artists, Bobby Rodriuez Latin Jazz, NOVA HONORS & EDUCATION: Bachelor of Music, Musicians Institute HALL, ZACHARY COURSES: LPWs, Private Lessons SPECIALTIES: Bassist-Upright and Electric CREDITS: Freelance bassist specializing in country, bluegrass, and rock. HONORS & EDUCATION: Bachelor of Music from the University of Virginia, Musicians Institute HONG, STEVE COURSES: Reading, Fretboard, Upright Workshop, Private Lessons, Harmony Theory 0 and 0, Ear Training 0 and 0 SPECIALTIES: Bassist-Upright and Electric CREDITS: Riverside Symphony Orchestra HONORS & EDUCATION: Bachelor of Music. California State University, Northridge. Masters Degree in Music, UCLA. KEIF, DAVID COURSES: Fretboard, Advance RSW, LPWs, Project Recording, Private Lessons SPECIALTIES: Bassist- Electric CREDITS: Mark Lindsay, Rita Coolidge, Etta James, Darlene Love and the Platters. TV shows and movies including Smallville, The Horse Whisperer and Trekkies. Author of Arpeggios for Bass, Grooves for Electric Bass, Classic Rock Bass and Latin Bass for Hal Leonard Publishing LOPEZ, GEORGE COURSES: Performance, Latin Bass, LPWs, Private Lessons SPECIALTIES: Bassist-Upright and Electric CREDITS: Tito Puente, Celia Cruz, Azteca, El Chicano, Dave Valentine, Poncho Sanchez, Norman Brown. HONORS & EDUCATION: Musicians Institute MEDEIROS, LYMAN COURSES: Funk Performance, Prince Performance, Upright Bass Workshop, LPWs, Private Lessons SPECIALTIES: Bassist-Upright and Electric CREDITS: Michael Buble, Steve Tyrell, Diane Schuur, Lou Soloff, Gabrielle Johnson HONORS & EDUCATION: Masters of Music, Western Michigan University. Bachelor of Music, Ball State University MENNELL, MICHAEL COURSES: Style Electives (James Brown, Jaco Pastorius, Motown), Private Lessons SPECIALTIES: Bassist- Electric CREDITS: Jimmy Buffett, Mick Taylor, Chayanne, Bobby Keys, Sir Tom Jones, American Idol winner Taylor Hicks, Kenny Loggins HONORS & EDUCATION: Bachelor of Music in Electric Bass, University of Miami FACULTY BIOS GENERAL THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 5

110 GENERAL FACULTY BIOS SIMPER, JAY COURSES: Bass & Vocals, LPWs, Private Lessons SPECIALTIES: Bassist- Electric CREDITS: Author of The Beginning Bass Guitar Instructional Book, First Bass & Second Bass. Freelance bassist with various artists HONORS & EDUCATION: Honors from Musicians Institute SKLJAREVSKI, ALEXIS COURSES: Bass Technique, Blues Bass, Electives (Tower of Power, Beatles, Led Zeppelin) Project Recording, Private Lessons. SPECIALTIES: Bassist- Electric CREDITS: Crosby, Stills & Nash, Manhattan Transfer, Jackson Browne, Dweezil & Ahmet Zappa, Albert Lee, Carole King, Rita Coolidge, Johnny Rivers, Martha Reeves and Chuck Berry. Performed on The Tonight Show with Jay Leno, The Late Show with David Letterman. Author of instructional video The Slap Bass Program and co-produced Fingerstyle Funk by Tower of Power bassist Francis Rocco Prestia. Writer for Bass Player magazine, author of Bass Playing Techniques: The Complete Guide. HONORS & EDUCATION: Musicians Institute Outstanding Achievement Graduate SMITH, PUTTER COURSES: Upright Bass Workshop, 0th Century Jazz Bass, Walking Bass SPECIALTIES: Bassist-Upright CREDITS: Thelonious Monk, Art Blakey, Phil Spector, The Beach Boys, John Mayall, Marlene Dietrich, Burt Bacharach, Alan Broadbent, Mose Allison, Karin Alyson, Natalie Cole, Sam Most, Walter Norris, Larry Koonse. VERBATEN, MENNO COURSES: Metal Bass, LPWs, Performance, Priv Lessons SPECIALTIES: Bassist- Electric CREDITS: Marty Friedman (Megadeth), Steven Adler (Guns N Roses), and Mike Hartman (David Lee Roth) HONORS & EDUCATION: Musicians Institute Graduate WEISS, GREG COURSES: LPWs, Harmony & Theory, Ear Training, Priv Lessons SPECIALTIES: Bassist- Electric CREDITS: Performed clinics at MI with Kirk Hammett (Metallica), Ray Luzier (Korn, David Lee Roth), and Tony Royster, Jr. (Jay-Z) HONORS & EDUCATION: Miami Dade C.C. South, Musicians Institute Honors Graduate WICKS, GARY COURSES: Upright Bass Workshop, LPWs, Private Lessons SPECIALTIES: Bassist-Upright and Electric CREDITS: The Manhattan Transfer, freelance bassist HONORS & EDUCATION: Masters in Music from USC, Bachelor in Music from the New England Conservatory WITT, TOM COURSES: LPWs, Keyboard Bass, Slap Bass, Private Lessons SPECIALTIES: Bassist- Electric CREDITS: Javier, Missing Persons, American Idol Live!, Enrique Iglesias, Andrae Crouch, Fantasia, Jennifer Hudson, Impromp, Pepe Aguilar. HONORS & EDUCATION: Berklee College of Music FACULTY BIOS DRUM JEAN, STEWART DRUM PROGRAM CHAIR SPECIALTIES: Drummer, Keyboardist, Curricular Development CREDITS: Raul Midon, Bruce Kulick, Bo Diddley, Preston Smith, Jimmy Buffett. Endorsed by Vic Firth drumsticks, Remo drumheads, Beato cases, Kickport and Paiste cymbals. Can be heard on Contact soundtrack. HONORS & EDUCATION: Bachelor of Music, University of Miami AKUTSU, KEITA COURSES: Jazz, Digital Drumming, Keyboard, Harmony Theory, Ear Training, Rhythm Reading Workout, Private Lessons, Open Counseling SPECIALTIES: Instructor, Digital Drumming Curricular Development CREDITS: CJS Quintet HONORS & EDUCATION: Bachelor and Masters of Arts, California Institute of the Arts BOLOGNESE, STEPHEN COURSES: LPW, Private Lessons, Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Into Eternity, Incurable Tragedy, various recordings for Roadrunner, Metal Blade, and Century Media Records. HONORS & EDUCATION: Endorsed by Pearl Drums. BONACCI, ALBE COURSES: Drum Tuning, Jazz, LPW, Private Lessons and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Larry Hart, Desmond Child, Diane Warren, and Jack Segal. Writer for Modern Drummer. Clinician at PASIC, Sam Ash and Musicians Friend. HONORS & EDUCATION: Graduate of Musicians Institute and Drummers Collective. BOWDERS, JEFF COURSES: Fill Fest, Private Lessons, Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Paul Gilbert, Justin Derrico, Puddle of Mudd, The Voice. Author of Double Bass Drumming-The MirroredGroove System, Essential Drumset Fills-The Component Rhythm System, Essential Rock Drumming Concepts-An Encyclopedia of Progressive Rhythmic Techniques and Jeff Bowders- Double Bass Drumming Workshop DVD. HONORS & EDUCATION: Graduate of Musicians Institute BROWN, RYAN COURSES: Reading, Performance, Private Lessons, LPW and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Zappa Plays Zappa, Black Belt Karate, Foreigner, Circus Diablo, Hannah Montana, Clay Aiken, Cassie Davis, Nick Lachey, Jesse McCartney, Heather Graham, Suzie McNeil (Rock Star INXS), Alex Lifeson, Earl Slick. Soundtracks for Kung Fu Panda, The Dark Knight (Hans Zimmer). Remo and DW endorser. HONORS & EDUCATION: Bachelor of Music, Indiana University CAMPBELL, GORDEN COURSES: Gospel/R&B Drumming, Private Lessons, Artist Development: Skills for the Creative Environment SPECIALTIES: Touring Musician (Drummer), Producer CREDITS: Earth, Wind & Fire, George Duke, American Idol Live Tours, Neyo, Jessica Simpson, Daughtry, Chris Brown, Award Shows (Billboard, MTV Video, BET, NAACP), Jimmy Kimmel, The Ellen Show HONORS & EDUCATION: BACHELOR OF MUSIC, HOWARD UNIVERSITY GENERAL 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 7

111 GENERAL FACULTY BIOS CARSON, ROBERT COURSES: Hand Technique, Chop Busters, Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Product development for REMO drumheads. Featured in International Drum Rudiments DVD by PAS. HONORS & EDUCATION: 3-Time National Snare Drum Champion (All American & DCI) DINKINS, FRED COURSES: Timekeeping, LPW, Private Lessons, Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Sinbad, The Emotions, Deniece Williams, Hugh Masekela. Clinician at PASIC. Endorsed by PDP, Vater, REMO, Sabian and Kickport. HONORS & EDUCATION: Graduate of Musicians Institute ETOROMA, EFA COURSES: E-Drumming, Drum Performance, Project Recording, Private Lessons SPECIALTIES: Touring Musician (Drummer), Producer CREDITS: Tuque, Ellen Doty, Bo Aganaba HONORS & EDUCATION: Masters Degree, CalArts HARNELL, JASON COURSES: Jazz, Private Lessons, Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Maynard Ferguson, Larry Goldings, Larry Koonse, Joe Bagg, Kei Akagi, and Darek Oles. Endorsed by Yamaha Drums, Istanbul Cymbals, Remo Drumheads and Vic Firth Drumsticks. HONORS & EDUCATION: University of South Florida HESS, GARY COURSES: Reading, Developing Your Groove, Music Minus One, Private Lessons, LPW and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Author of Encyclopedia of Reading Rhythms (MI Press/Hal Leonard) HONORS & EDUCATION: Graduate of Musicians Institute HUNTER, JEVIN COURSES: LPW, Private Lessons and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Lauryn Hill, Bobby McFerrin, Darmon Meader, Stefon Harris, Eldar, Shawn Thunder Wallace, Charles Laster, Liz Mikel, Mozella HONORS & EDUCATION: Graduate of Western Michigan University MCINTYRE, TIM COURSES: Reading, Jazz, Private Lessons and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Endorsed by Canopus drums. Performs with the Dave Hill Group. HONORS & EDUCATION: Bachelor of Music Degree, University of Calgary-Alberta MEGNA, ANDREW COURSES: Performance, Project Recording, LPW, Private Lessons and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Endorsed by Lueken Innovations (Pocket Percussion, Rock University), Spaun drums and Truline drumsticks. HONORS & EDUCATION: Graduate of Musicians Institute PALMIERI, GIANLUCA COURSES: Performance, Latin, LPW, Private Lessons, Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Greg Howe, Marigold, MTV Total Request Live and SuperSix TV. Endorsements with Yamaha, Vic Firth, Paiste, Evans HONORS & EDUCATION: Graduate of Musicians Institute ROSCETTI, ED COURSES: Odd Meter, Open Counseling and Private Lessons SPECIALTIES: Drummer, Instructor CREDITS: Herbie Hancock, The Crusaders, Joe Sample. Authored books for Hal Leonard. Endorsed by Regal, Remo, DW, PDP and Paiste. HONORS & EDUCATION: Clinician for PASIC SALINAS, DAVID COURSES: Funk, LPW, Private Lessons and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Paulina Rubio, Snapdragon, Jim Brickman, Jason Reeves and In The Red Ministries. Endorsed by Paiste and Regal. HONORS & EDUCATION: Graduate of Musicians Institute STEVENS, KEVIN COURSES: Performance, New Orleans, LPW, Private Lessons and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Bobby McFerrin, Minnie Driver, Natasha Bedingfield and Duane Eddy. Endorsed by Sabian, Remo and Vic Firth HONORS & EDUCATION: Bachelor of Music, University of Miami TERRY, ROBERT COURSES: Electronic Drum, Open Counseling SPECIALTIES: Drummer, Instructor, Digital Drumming Curricular Development CREDITS: Wang Chung, Artist and product consultant for YAMAHA/DTX WATSON, SAMMY COURSES: LPW, Bridging the Gaps, Private Lessons and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Drummer for Mt. Helium. Endorsed by Sabain, Gretsch and Vater. HONORS & EDUCATION: Graduate of Musicians Institute WAYMIRE, CHARLIE COURSES: Project Recording, Performance, Private Lessons and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Ultimate Studios, INC., Malcolm in the Middle (FOX), Help You Help Me (ABC), The Drinky Crow Show (Cartoon Network) and Zeke and Luther (Disney). Endorsed by Pearl Drums, Paiste Cymbals, Evans Drumheads and MXL microphones. HONORS & EDUCATION: Graduate of Musicians Institute WITTENBERG, SCOTT COURSES: Performance, LPW, Private Lessons and Open Counseling SPECIALTIES: Drummer, Instructor CREDITS: Zen Robbi HONORS & EDUCATION: Graduate of Musicians Institute FACULTY BIOS GENERAL 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 9

112 GENERAL FACULTY BIOS GUITAR MATHISEN, STIG GUITAR PROGRAM CHAIR SPECIALTIES: Guitarist, Composer, Educator, Curricular Development CREDITS: Alcatrazz, Peter Erskine, Lamont Dozier, Brandon Fields, Stu Hamm, Robben Ford, Jorn Lande, Patrice Rushen. Lecturer/Teaching Professor at University of Tromso and Kongsbakken College HONORS & EDUCATION: Doctor of Musical Arts and Master of Music, USC (University of Southern California), 6 years of classical training from University of Tromso (Major: Classical Guitar). Awards: Fulbright Scholarship, The Norway-America Associations Graduate Study & Research Scholarship (received twice), USC Studio Guitar Departmental Award (received three times), Outstanding Academic Achievement Award by OIS/USC, Pi Kappa Lambda Award, plus Outstanding Talent Award by the Norwegian Jazz Association. AKIMOTO, TAKESHI COURSES: Private Lessons & Open Counseling SPECIALTIES: Rock, Blues, Funk, R&B, Reggae CREDITS: Ziggy Marley, Jimmy Kimmel Live House Band, George Duke, Raya Yarbrough, Bear McCreary HONORS & EDUCATION: MI graduate with Vocational Honor BONHOMME, AL COURSES: Core Classes, Country Guitar, Surf/Spy Guitar, Acoustic Guitar, Country LPW, Private Lessons, Open Counseling SPECIALTIES: Country, Fingerpicking and Acoustic Styles, Roots Music and Americana CREDITS: Dwight Yoakum, Pete Anderson, the Bull Durham Band, Mark Collie, Tracy Lawrence and Disney Entertainment. Performed at the Grand Old Opry and on TNN s Crook & Chase. HONORS & EDUCATION: Musicians Institute Alumni. Voted Guitarist of the Year by the California Country Music Association in 988. BROWN, DEAN COURSES: Advanced Electric Guitar Styles, Advanced Ensemble, Open Counseling SPECIALTIES: Guitarist, Composer, Arranger, Producer, Bandleader, Educator CREDITS: Performed/recorded with Marcus Miller, Billy Cobham, Brecker Brothers, David Sanborn, Roberta Flack, George Duke, Bob James, Vital Information. Featured in Guitar Player, Guitar World & Hal Leonard instructional videos, Released four solo albums HONORS & EDUCATION: Bachelor of Music in Composition, Berklee College. Played on Grammy-winning albums. BUCKINGHAM, BRUCE COURSES: Core Classes, Chord Melody, Afro-Cuban Guitar, Brazilian Guitar, Latin LPW, Traditional Jazz Ensemble LPW, Private Lessons, Open Counseling SPECIALTIES: Jazz and Latin Styles CREDITS: Helen Reddy, John Pattitucci, and Michael Jackson s live production of Sisterella. Released three books for MI Press, and one video for Hal Leonard Publishing HONORS & EDUCATION: Musicians Institute Alumni DESAI, PATHIK COURSES: Core Classes, Funk Guitar, Advanced Groove Concepts, Slide Guitar (SUB), Studio Skills, Private Lessons, Reading & SPECIALTIES: Pop, Funk and Studio Guitar CREDITS: Kelly Clarkson, Westlife, David Archuleta, Nick Lachey, Anastasia, American Idol, Tonight Show with Jay Leno, Today Show, Good Morning America, Live with Regis, Jimmy Kimmel HONORS & EDUCATION: Graduated from Berklee College of Music. Played on Kelly Clarkson s # hit A Moment Like This. FINN, ED COURSES: Reading, Harmony & Theory, Ear Training, Private Lessons SPECIALTIES: Instructor CREDITS: Roger Williams, Nell Carter, Buena Vista Video, RSO, PBS, HBO HONORS & EDUCATION: GIT, Florida Atlantic University, Jefferson State College, Black Hawk College FACULTY BIOS GILBERT, DANIEL COURSES: Core Classes, Jazz Workshop, Guitar Workout, Eclectic Electric Guitar, Applied Technique, Fusion LPW, Private Lessons, Open Counseling SPECIALTIES: Jazz, Fusion, General Guitar Technique and Knowledge CREDITS: Mr. Invisible (YT Records), performed with Cone of Silence and Terri and the T-Bones. Co-author of Guitar Soloing (Hal Leonard) HONORS & EDUCATION: Musicians Institute Alumni. Queensborough Community College and Brooklyn Conservatory of Music. Private studies with Pat Martino, Howard Morgan, and Ronnie Lee GOLD, JUDAH JUDE COURSES: Slap Pop and Beyond, Private Lessons, Open Counseling SPECIALTIES: Former MI Guitar Program Chair, Guitarist, Instructor CREDITS: Toured/recorded with DJ Spooky, Greg Howe, Kristin Chenoweth, Live Crew, Jefferson Starship, Billy Sheehan, Stuart Hamm, the Oakland Symphony, Eddie Money, Angelo Moore (Fishbone), Jeff Berlin, and DJ Miguel Migs. Editor at Guitar Player magazine, interviewed Pat Metheny, Brad Paisley, Zakk Wylde, Slash, and John Scofield. Toured Europe, U.S., and Asia. Performed on Jimmy Kimmel Live, The Tonight Show, and the American Country Awards. HONORS & EDUCATION: Bachelor of Music, University of California at Berkeley HARRISON, GREGORY COURSES: Core Classes, Shred Guitar, Improvisation, Private Lessons, OC SPECIALTIES: Progressive Metal, Djent, Shred, Rock, Gypsy Jazz CREDITS: PDP, Hot Club of North Hollywood, Hal Leonard, Guitar World, Premier Guitar, Randall Amplifiers, Lance Alonzo guitars, Daddario strings, Planet Waves HONORS & EDUCATION: Associate of Arts Degree, Musicians Institute, Outstanding Player Award HAWLEY, ADAM COURSES: Private Lessons & Open Counseling SPECIALTIES: Jazz, Fusion, Pop, R n B, Gospel, Studio Work CREDITS: Jennifer Lopez, Backstreet Boys, Natalie Cole, Sheila E, Lalah Hathaway, Ruben Studdard, Larry Graham, Jordin Sparks, Fantasia, Eric Benet, Marc Anthony, Flo Rida, Lil Wayne, Pitbull, Michael McDonald, Regina Carter, Chick Corea, Pat Metheny. HONORS & EDUCATION: Doctor of Musical Arts, Master s of Music and Bachelor Degree, University of Southern California (USC) HENDERSON, SCOTT COURSES: Open Counseling SPECIALTIES: Jazz Fusion and Blues CREDITS: Released numerous critically acclaimed solo albums, instructional videos and books, Tribal Tech, Joe Zawinul, Vital Tech Tones, Chick Corea, Jean Luc Ponty, etc. HONORS & EDUCATION: MI Alumni, numerous awards in international magazines HILL, DAVID COURSES: Core Classes, Fusion Masters, Private Lessons, Open Counseling SPECIALTIES: All Styles, Emphasis on Jazz and Fusion CREDITS: Toured U.S., Canada and Europe, including Montreux Jazz Festival. Played with Dave Hill Group, Cone of Silence, Frank Gambale, Jimmy Earl, Three Dog Night, The Coasters, and Al Wilson. Staff transcriber for REH Instructional Videos. HONORS & EDUCATION: Musicians Institute Alumni 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. GENERAL

113 GENERAL FACULTY BIOS HINDS, ALLEN COURSES: Private Lessons & Open Counseling SPECIALTIES: Variety of guitar styles, soloing over chord changes, comping, mentoring in general CREDITS: Gino Vannelli, Randy Crawford, Crusaders, Roberta Flack, Natalie Cole, BeBe Winans, Hiroshima, Patti Austin. TV show appearances with Rickey Minor backing Stevie Wonder, Lionel Richie, Maya, Mary J. Blige and Sheena Easton. Released solo albums. Featured articles in Guitar Player Magazine, the Guitarist, Guitar Techniques, Premier Guitar. Author of Liquid Legato instructional book. Endorsed by Xotic, bv pedals at gtrwrks, Bogner,Vertex, Jackson Amp Works, Bob Burt pedals, Anthology straps and accessories, Curt Mangan strings and Ernie Ball strings. HONORS & EDUCATION: Winner of Guitar Player magazine s Larry Carlton Scholarship. MI Graduate. Berklee College of Music HOFFMEYER, FRANK COURSES: Reading, Classical Guitar, Playing Techniques for Guitar, Private Lessons & Open Counseling SPECIALTIES: All Styles, Classical Guitar HONORS & EDUCATION: Masters of Music, University of Southern California (USC), University of Muenster (Germany) HOLDER, MITCHELL COURSES: Private Lessons & Open Counseling SPECIALTIES: Jazz Styles and Studio Work CREDITS: Barbra Streisand, Neil Young, Frank Sinatra, Joe Cocker, Diana Ross, Brian Wilson, John Williams, Lalo Schifrin, Michel Legrand, Hans Zimmer, and Herbie Hancock; film soundtracks for Catch Me If You Can, Saturday Night Fever, E.T., Indiana Jones & The Temple of Doom, and Terms of Endearment; and TV work for the The Tonight Show with Johnny Carson, The Simpsons, King of the Hill, Family Guy, The Academy Awards, Grammy Awards, Country Music Awards, American Music Awards, and the Emmy Awards. HONORS & EDUCATION: Adjunct Professor, Music Department at Cal Lutheran University HOMEYER, ERNST COURSES: Private Lessons, Guitar Heroes Of The 80s, Recording Guitar, Studio Skills, Guitar Tracking Tactics, Modern Rock LPW, I Love the 80 s LPW SPECIALTIES: Rock, Metal, Shred, Neoclassical, Fusion CREDITS: EGH, King Crazy, Jacob Armen, X-Loop. Companies: MXL, Audio Technica, Warwick, Framus, Joe Meek HONORS & EDUCATION: Bachelor of Arts in Commercial Music, MI s Guitar & Recording Programs, Logic 9 Master Pro, Pro Tools JACOBS, SID COURSES: Reading, Jazz Guitar Improvisation, Modern Jazz Concepts, The Art of Two-Line Improv, Jazz Guitar Reading Ensemble, Jazz Listening, American Songbook LPW, Private Lessons, Open Counseling SPECIALTIES: Jazz and Classical CREDITS: Steve Lawrence and Eydie Gorme, Diahann Carroll, Ike and Tina Turner, Luciano Pavarotti, and Frank Sinatra Jr. Author of The Complete Book of Jazz Guitar Lines and Phrases and Jazz Guitar I and II KIME, JAMES COURSES: Private Lessons & Open Counseling SPECIALTIES: Jazz, Rock, Fusion Improv CREDITS: Zappa Plays Zappa, Banned From Utopia, Mike Keneally, Gryphon Labs, Baked Potato house band. HONORS & EDUCATION: Musicians Institute Graduate, Grammy Award (009) for Best Rock Instrumental Performance (ZPZ) KOLB, THOMAS COURSES: Core Classes, Melodic Soloing, Classic Rock LPW Leader, Open Counseling, Private Lessons SPECIALTIES: Guitar Instructor specializing in Rock, Blues, Funk, Country, Jazz, Folk, R&B, and Soul. CREDITS: Edgar Winter, Mark Lindsay, Tom Jones, Eric Johnson, Jan and Dean, Mitch Ryder, and Pete Seeger. Author of nine guitar method books & featured in over 0 instructional videos. Writer for Guitar One, Guitar World, Guitar Edge, and Premier Guitar. HONORS & EDUCATION: Graduated Musicians Institute with Vocational Honors and Student of the Year Award. Studied Music at CA State University Hayward. MARLIS, BETH COURSES: Open Counseling. Vice President, Industry/Community Relations. Executive Director, The Musicians Foundation. SPECIALTIES: Jazz, R&B. Leader in fundraising for MI scholarships and fostering positive community relationships CREDITS: Jackie DeShannon, Helen Reddy, John5, Brownie McGee, Barbara Morrison. Clinician, Author, Panelist, Interviewer HONORS & EDUCATION: Master of Music, USC. Bachelor of Music, UC Santa Cruz. MI Guitar Program (GIT) - Vocational Honors MARSHALL, JEFFERY COURSES: Core Classes, Guitar Studio Skills, Private Lessons SPECIALTIES: Blues, Classic Rock, Country, Fusion, Recording/Production/Songwriting CREDITS: Rick Monroe, Lisa Hayes and the Violets, Ashley Jay, Bleeding Harp, The Jeff Kollman Band, Tizer. Released 007 solo album. Writer for Studio 5 and Xray Dog music libraries & Guitar World Magazine. HONORS & EDUCATION: MI Graduate NEWLON, TRAVIS COURSES: Harmony Theory and Ear Training 0-0; Hot 00 LPW, Private Lessons (Guitar) SPECIALTIES: Harmony Theory and Ear Training, Guitar CREDITS: Performed and/or recorded with: Latin Grammy Winner Gaby Moreno, Allison Self, The Hot Club of North Hollywood HONORS & EDUCATION: Bachelor of Music from Musicians Institute OZAKI, JINSHI COURSES: Acid Jazz, Funk LPW, Private Lessons & Open Counseling SPECIALTIES: Jazz improvisation, composing & arranging, acoustic solo guitar CREDITS: Toured around the world with Kirk Whalum, Jody Watley, Keiko Matsui, Jimbo Akira, and Scott Kinsey. Veteran session guitarist for TV shows and studio work. HONORS & EDUCATION: Bachelor s Degree, Berklee College of Music. Private studies with Ted Greene. PARKER, SCOTT COURSES: Core Classes, Music Theory, Ear Training, Private Lessons, Open Counseling, R&B Live Performance Workshop, Reggae Live Performance Workshop SPECIALTIES: Guitar Instructor, Common Course Instructor CREDITS: Jose Luis Rodriguez, El Puma, Chayanne, Deniece Williams, Annie Lennox of Eurythmics, numerous multimedia projects and TV shows. HONORS & EDUCATION: Associate of Arts Degree, Miami Dade South. Attended Florida State University and the University of Miami. RABUCHIN, BRADLEY COURSES: Private Lessons & Open Counseling SPECIALTIES: Jazz and Blues CREDITS: Ray Charles, Bonnie Raitt, Al Kooper, Steve Wonder, Buddy Miles, David Fathead Newman, Willie Nelson, and Tom Jones HONORS & EDUCATION: Pierce Junior College, private studies with Derol Coraco, Ted Greene, and Joe Pass FACULTY BIOS RICHMAN, JEFFREY COURSES: Fusion Ensemble, Private Lessons & Open Counseling SPECIALTIES: Jazz and Fusion CREDITS: Blood, Sweat & Tears, John Klemmer, Ronnie Laws, Doc Severinson, Don Grusin, Henry Mancini, and Alphonse Mouzon. Recorded six solo albums and the John Coltrane tribute A Guitar Supreme, featuring Mike Stern and Eric Johnson. HONORS & EDUCATION: Master s Degree, Berklee College of Music GENERAL THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 3

114 GENERAL FACULTY BIOS ROSSER, KEN COURSES: Core Classes, AA and BA Private Lessons, Guitar Reading, BA Degree Ensemble, BA World Music, Guitar Effects SPECIALTIES: Freelance guitarist CREDITS: Smokey Robinson, John Cage, Sussan Deyhim, Andrea Morricone, The Grand Mothers Of Invention, Glenn Branca, Bobby Bradford, Peter Erskine, Nels Cline, David Torn, Prince Diabate, Mike Einziger (Incubus), Todd Rundgren HONORS & EDUCATION: Associate of Arts, Humanities STEIGER, KEN COURSES: Metal Guitar, Applied Metal Guitar, Metal LPW, Private Lessons & Open Counseling SPECIALTIES: Private Guitar Instruction, Modes, Shred, Metal CREDITS: Released solo instrumental album Project Steiger - Defiance featuring Derek Sherinian, Tony Franklin, Virgil Donati and Gary Hoey. Teacher for the National Guitar Workshop (NGW), and author of instructional videos. Endorsed by D Addario and ESP Guitars. HONORS & EDUCATION: Associate of Arts Degree in Music, Musicians Institute TAGLIARINO, BARRETT COURSES: Private Lessons & Open Counseling SPECIALTIES: Improvisation, theory, blues, classic rock, jazz CREDITS: Performing with John Zipperer, Severin Browne, Dave Morrison. Released three solo albums, author of instruction books and DVDs. Editor/ author for over 00 Hal Leonard projects HONORS & EDUCATION: MI Graduate TURNER, DALE COURSES: Jimi Hendrix Rhythm Guitar, Guitar/Vocal Accompaniment, Theory/Ear Training, Guitar Reading, Open Counseling, Private Lessons SPECIALTIES: Rock singer-songwriter & acoustic/electric multi-stylist, author/transcriber, producing engineer, Guitar World columnist CREDITS: Performed with David Pritchard, Billy Cobham, Larry Klein, members of Cypress Hill. Released solo albums & Acoustic Rock DVDs. Author of 50+ transcription/instructional books. Endorsed by D Addario Acoustic HONORS & EDUCATION: Bachelor s Degree (Studio/Jazz Guitar Performance) from University of Southern California VERHEYEN, CARL COURSES: Open Counseling SPECIALTIES: Pop, Rock, Blues, Jazz and Studio Work CREDITS: Member of Supertramp and leader of his own band. Recorded on hundreds of albums, movie soundtracks, and TV shows. Winner of Guitar Player magazine reader s poll for Best Studio Guitarist. Writer for guitar magazines and producer of instructional videos and software WENGER, PETER YUSSI COURSES: Rumba Workout, Private Lessons & Open Counseling SPECIALTIES: Latin, Rock, Jazz CREDITS: Played on 50 albums, film scores, TV show soundtracks, and commercials. Artists including Ricky Martin, Rick Springfield, Paul Anka, Darius Rucker, Paulina Rubio. TV Credits: include The Bachelor, The Bachelorette, TMZ, Extra, The Tyra Banks Show, National Geographic and PBS. HONORS & EDUCATION: MI Graduate WIDEGREN, LENNART COURSES: Core Classes, Rock Lead guitar, Rock Rhythm Guitar, Alternative Guitar Heroes, Hard Rock LPW, private lessons SPECIALTIES: Rock, Hard Rock, Punk, Alternative, Slide Guitar CREDITS: Recorded five albums, toured U.S. and Europe, featured in film Get Him To The Greek. HONORS & EDUCATION: Bachelors of Music, Musicians Institute. Winner of Best Rock Band, All Access Magazine Awards. ZIFF, STUART COURSES: Blues Guitar, Slide Guitar, Blues LPW, Private Lessons and Open Counseling SPECIALTIES: Rock & Roll, R&B, Funk, Blues CREDITS: Wilson Pickett, Charles Brown, War. Co-wrote the # single Thinkin Problem with country artist David Ball. ZILBERSHTEIN, VADIM COURSES: Private Lessons & Open Counseling SPECIALTIES: Jazz, Funk, R n B, Studio Work CREDITS: Earth, Wind & Fire, Marcus Miller, Chaka Khan, Chick Corea, Lenny Kravitz, James Brown and Mary J. Blige. Appeared on Grammy and Emmy Award shows. HONORS & EDUCATION: Bachelor Degree, Berklee College of Music KEYBOARD TECHNOLOGY YOON, RACHEL DEAN OF THE SCHOOL OF PERFORMANCE STUDIES SPECIALTIES: Administrator, Educator, Composer, Orchestrator, Arranger, Performer, Music Director CREDITS: Executive Music Director of national project Stellar Whisper in Seoul, Korea. Performed with Yellowjackets and Shapes. Played Walt Disney Concert Hall and Hollywood Bowl HONORS & EDUCATION: Ph.D. In Music Composition (U.C.L.A.), Master and Bachelor of Music in Music Composition (Seoul National University) BREWER, HENRY COURSES: Blues Keyboards, Hip Hop Keyboards, Hip Hop LPW, Private Lessons SPECIALTIES: Keyboardist, Music Director, Producer CREDITS: B.B. King, Lou Rawls, Gladys Knight, The O Jays, The Emotions, members of Earth, Wind & Fire, guitarist Paul Jackson, Jr. Soundtracks for the films Nemesis, Police Academy II, and Bob Roberts. HONORS & EDUCATION: Webster College Music Conservatory BYRON, CARL COURSES: Voicings -, Groove 5 SPECIALTIES: Instructor, Sideman, Recording Musician, Composer, Music Director, Independent A&R Consultant, Music Critic, Author CREDITS: Michelle Shocked, Jim Lauderdale, Young Dubliners, Mike Stoller, Bo Diddley, Spencer Davis Group, Warren Zevon. Interscope Records, Messenger Records, Taxi Music HONORS & EDUCATION: Bachelor of Music Composition, Cal State University, Northridge GENNET, ROBERT COURSES: Classic Rock LPW SPECIALTIES: Multi-Instrumentalist Musician, Singer, Songwriter, Educator CREDITS: Nick Lachey, Everclear, Wayne Kramer, (MC5), Robby Krieiger (The Doors), Phil Chen (Jeff Beck, Rod Stewart), Paul Barrere and Kenny Gradney (Little Feat), Alan Parsons, Harvey Mason (Fourplay, Headhunters) HAMMACK, KAREN COURSES: Groove, Accompaniment, Private Lessons SPECIALTIES: Keyboardist CREDITS: Maurice Hines, Niki Haris, Perla Batalla, Tierney Sutton, Kate McGarry, Johnny Guitar Watson, Melissa Manchester FACULTY BIOS GENERAL THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 5

115 GENERAL FACULTY BIOS KIM, HYUN COURSES: Groove, Reading, Reading, Contemporary Praise & Worship Performance SPECIALTIES: Player, Music Director, Arranger, Composer, Private Lesson CREDITS: Abraham Laboriel, Korean Singers Jin Sub Byun, Kyung Min Hong and Mi Kyung Park, Ali. Teacher at Seoul Contemporary Music High School, World Mission University HONORS & EDUCATION: Bachelor s Degree in Music Composition, Dan Kook University in South Korea. Outstanding Student Award at Musicians Institute KOVAL, MARK COURSES: Video Scoring &, Project Advising, Writing for Film & TV, Private Lessons SPECIALTIES: Composer & Orchestrator for Film/TV. Specialist in Orchestral Music, Mixing and Production. CREDITS: Composed music for TV shows including Batman: the Animated Series, The Real Adventures of Jonny Quest and Bobby s World, plus films such as The Chinese Zodiac, Last Flight and Brotherhood of Blades. Wrote music & lyrics for civil rights oratorio We the People and created orchestral works for the Minnesota Orchestra, Harvard University, the American Composers Forum, the Sundance Film Institute and more. HONORS & EDUCATION: Two Emmy Award Nominations. BA in music composition and Piano, Binghamton University. KRISHNAN, APPU COURSES: Digital Music, Virtual Instruments, Synthesis and Sampling, Private Lessons SPECIALTIES: Production, Sound Design, Song-writing, Mixing HONORS & EDUCATION: Bachelor Degree in Mechanical Engineering. Certificate in Audio Engineering and AA in Keyboard Technology from Musicians Institute LEE, EUN JUNG COURSES: Private Lesson, 80 s LPW, Assistant for Fusion Performance, Latin Worshop, Bachelor Ensemble, Vocal Performance. SPECIALTIES: Keyboard Instructor at MI, Music Director/Keyboardist at Church. CREDITS: Arranging/Recording soundtracks for MBC broadcasting in Korea HONORS & EDUCATION: Masters of Music SALAS, ALBERTO COURSES: Keyboard Technique, Latin Workshop, Brazilian Keyboards, Afro-Cuban Keyboards, Latin LPW, Brazilian LPW, Private Lessons SPECIALTIES: Producer, Arranger, Keyboardist, Percussionist specializing in Afro-Cuban styles CREDITS: Santana (Supernatural), Angelique Kidjo, Ozomatli, Mana, Los Lobos, Bebe Winans, Poncho Sanchez, Alex Acuña, Israel Cachao Lopez, Raul Malo, Rick Trevino, Los Super Seven, Andrae Crouch, the Luckman Jazz Orchestra, the Nashville Chamber Orchestra, Christina Aguilera HONORS & EDUCATION: Grammy-Winning producer VOCAL BYRD, DEBRA VOCAL PROGRAM CHAIR SPECIALTIES: Educator, Recording Artist, Producer, Arranger, Singer, Vocal Coach, Actor CREDITS: Vocal Coach for The Voice, American Idol, The Grammys, The Oscars, Canadian Idol. Worked on ABC, NBC, CBS, Fox, MTV, Disney, CW, Hub, ITV, CTV and the Pentagon Channel. Worked on movies for Paramount, Sony Pictures, Warner Bros., Disney, NBC Universal Studios and Miramax HONORS & EDUCATION: Berklee College of Music, Artist-In-Residence, Kent State University FACULTY BIOS ARTADI, GENEVIEVE COURSES: Bachelor Vocal Performance, Great American Songbook LPW, Private Lessons SPECIALTIES: Vocalist, Songwriter, Arranger, Instructor in Pop, Electropop, Jazz and Contemporary Ensemble Singing, Recording Artist CREDITS: Co-Leader of bands KNOWER, Pollyn, perfomed with Sal Principato (Liquid Liquid), Snarky Puppy, Tim Lefebvre, David Binney, Sammy Stephens, John Escreet and Kneebody, Played Bonnaroo Festival and Pukkelpop Festival, Released her solo CD, genevieve lalala in March 05 HONORS & EDUCATION: Bachelor of Music in Jazz Studies, Cal State University Northridge BASICK, SHAWNA COURSES: Vocal Performance, Harmony & Theory, Sightsinging, Modern Rock LPW, Pro Performance LPW, Private Lessons and Open Counseling SPECIALTIES: Lead and background vocalist, Specializes in voice technique and placement CREDITS: Performer in musical theatre and sports events HONORS & EDUCATION: Musicians Institute graduate BISHOP, DAWN COURSES: Bachelor Ear Training & Theory, Gospel Performance, World Beat Performance, Vocal Performance, Creativity Workshop, Blues Vocals, Gospel Choir, Songwriters Lab, Hip-Hop LPW, Contemporary R&B LPW, Latin LPW, Brazilian LPW, Private Lessons SPECIALTIES: Lead and Background Vocals, Arranging, Songwriting, Keyboards CREDITS: Black Eyed Peas, Justin Timberlake, John Legend, Ledisi, Erykah Badu, India Arie, Brian McKnight, The Hollywood Film Chorale, Sergio Mendes, Bill Cunliffe, Dale Bozzio, Foreigner HONORS & EDUCATION: Bachelor of Music Degree in Commercial Arranging, Contemporary Writing and Production with Outstanding Musicianship Award, Berklee College of Music CASTANEDA, JUAN COURSES: Vocal Technique, Accent Reduction, Diction for Vocalists, Vocal Teacher Training, Intro To Voice, Vocal Performance, Private Lessons SPECIALTIES: Contemporary and Classical styles, Coach and Conductor CREDITS: Ben Folds, Airbourne Toxic Event, Anna and the Bulls, The Bravery, Mercy Beat, Taylor Rae HONORS & EDUCATION: Bachelor of Music, Bob Cole Conservatory of Music at Cal State University Long Beach. Pritchard Opera Scholarship CHUNG, ANN COURSES: K-Pop LPW, Private Lessons SPECIALTIES: Singer, Songwriter, Producer CREDITS: Released two albums in South Korea as Ann One. Producer and collaborator with Drunken Tiger JK, Tasha, The Pharcyde, Kurtis Blow, Dumbfoundead and Breezy Lovejoy HONORS & EDUCATION: Won 008 Korean Grammy for R&B Song of the Year. Songs used in South Korean schools and talent competitions ( Superstar ) COHEN, BARBARA COURSES: Studio Recording, Scoring for Film & TV, Artist Development-The Songs, Private Lessons SPECIALTIES: Educator, Film & Television Composer, Recording Artist/Singer-Songwriter, Session Singer, Producer, Recording Engineer, Curriculum Developer CREDITS: BMI Conducting Workshop; Sundance Film Composer Lab; Minnesota Music Award - Artist and Vocalist of the Year. Co-founder of Brother Sun Sister Moon (Virgin Records). Collaborator with Orbital & Air. Released albums as a solo artist and with Farm Accident. Songs and vocals featured on shows Red Riding Hood, Broke Down Palace, Lipstick Jungle, Third Watch & more HONORS & EDUCATION: University of North Carolina School for the Performing Arts and the University of Minnesota. Minnesota State Arts Board Grant for Artistry and Composition COLEMAN, JAMAL COURSES: Rap Vocal Techniques, Hip Hop LPW, DJ Driven LPW SPECIALTIES: Recording Artist, Radio and Comedy Show Producer, Writer CREDITS: Rap Artist and creator of Chuckle n Flow at Jon Lovitz Comedy Club; A&R for Kevin Black s So U Can Fly Holding/Beatolgy HONORS & EDUCATION: Associate of Science Degree in Business Administration, San Joachin Valley College. Hip Hop Artist of the Year at Los Angeles Music Awards. Anger Management Tour Battle Champion 6 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, GENERAL

116 GENERAL FACULTY BIOS CROSSEN, JUDE COURSES: Vocal Performance, Coffee House LPW, Private Lessons SPECIALTIES: Vocalist, Performer CREDITS: Film and TV Credits:: America s Got Talent (NBC), My is Earl (NBC) and Joan of Arcadia (CBS); Grammy-nominated DVD/CD The Hang, former member of Atlas Shrugged HONORS & EDUCATION: Berklee College of Music graduate and former faculty member GALLO, JOHN COURSES: Apple Logic, Studio Recording and Vocal Mix SPECIALTIES: Recording, Pro-Tools, Ableton and Nuendo, Mixing and Mastering, ADR, Foley, Post Sound and DJing CREDITS: DJ/VJ with Spotlight LA. Worked on films The Banshee Chapter, The Flock, Print, Uncharted, Nightlights, Silent No More, Expecting Mary, Anything is Possible HONORS & EDUCATION: Associates of Recording Arts, Academic Achievement Award, Full Sail University HERTZNER, LISA COURSES: Studio Recording, Project Recording, Intro to Voice, Harmony Theory 0 and 0, Ear Training 0 and 0, Country LPW, Vocal Private Lessons SPECIALTIES: Jazz, Country, Pop, Songwiter, Recording Artist CREDITS: Mary J. Blige Holiday Concert with David Foster, Clearwater Jazz Holiday, Recorded with Nate Najar, Harry Allen, Kenny Drew, Jr. and John Lamb HONORS & EDUCATION: Master s Degree in Education, Bachelors Degree in Music Education from The Crane School of Music at SUNY Potsdam in Upstate New York HUTCHISON, TITA COURSES: Vocal Performance, Sightsinging, Image Development, Classic Rock LPW, Billboard Hot 00 LPW, Private Lessons SPECIALTIES: Recording Artist and Session Singer CREDITS: Shooter Jenning, P.J. Olsson, Rick Rubin, Herbie Hancock. Worked on commercials, TV, radio and film productions for Calvin Klein, Fox and ABC Family, Capitol, Columbia. Co-author of Advanced Vocal Technique: Middle Voice, Placement and Styles (Hal Leonard) HONORS & EDUCATION: Musicians Institute graduate HURTADO, VICTOR COURSES: Project Recording, Vocal Private Lessons, LPWs, Music Industry History and, Song Structure and Content SPECIALTIES: Vocal Performance, Artist Development, Artistic Direction, Producing, Music Business CREDITS: Kenny Loggins, TROOPS, American Military Spouses Choir, Army Entertainment, Sony Music, Universal Music, BBC Worldwide, NBC Universal, ABC, David Foster, Frank Fillipetti, Toby Keith HONORS & EDUCATION: NARAS, ASCAP, Studied Directing at Harvard University, Adjunct Performance Professor Rutgers University, Artistic Director of Army Entertainment KLIKOVITS, CHRISTIAN COURSES: Keyboards for Vocalists, Digital Notation & Arranging, Keyboard Improvisation, Ear Training, Hip Hop LPW, Vocal Performance, Jazz Vocals SPECIALTIES: Keyboard instructor, Chart Writing, Sibelius, Accompanist CREDITS: Ellen Greene, Chaka Khan, Gloria Gaynor, Thelma Houston, Donna De Lory HONORS & EDUCATION: Bachelor Degree in Jazz Piano, The Conservatory of the City of Vienna FACULTY BIOS PARIS, ANIKA COURSES: Image Development, Vocal Performance, Artist Development-The Songs, Keyboard, Project Advising SPECIALTIES: Singer, Songwriter & Composer for TV, film and stage, Author, Poet CREDITS: Shared stage with Stevie Wonder, John Legend and John Mayer. Recorded for Edel/Sony, Warner Bros. Published Songwriter with Universal Polygram, Warner Chappell, BMG. Songs in films with Miramax, Lionsgate, 0th Century Fox & HBO as well as shows like General Hospital & Latin Explosion HONORS & EDUCATION: Bachelor of Arts in Theatre and Media Arts/Film, University of Kansas. ASCAP Pop Plus Awards. Platinium Songwriting Award, CRIA Canada REID, COLIN COURSES: Rock Repertoire, Jam Band and Country LPWs CREDITS: Played with ex-megadeth Drummer Nick Menza in the band Deltanaut, toured with Blacklist Union, released a full-length album as a solo artist, and was the former Music Director at Rock Nation school in Agoura Hills, CA HONORS & EDUCATION: Bachelor of Music in Performance, an Associate of Arts in Vocals and an Audio Engineering Certificate from Musicians Institute. Awarded the Musicianship Scholarship and Outstanding Student award for the Vocal Program at MI. Bachelor of Arts from the University of British Columbia SAPUTO, GINA COURSES: Ear Training, BACH Sightsinging, Vocal Performance, BACH Private Lessons SPECIALTIES: Jazz Vocalist, Clinician, Bandleader, Performer, Choral Conducting, Background Vocals CREDITS: Gina Saputo Quintet, Herbie Hancock, Wayne Shorter, Terence Blanchard, Benny Green, Nnenna Freelon, Barry Manilow, Barbara Streisand and Bonnie Raitt HONORS & EDUCATION: Bachelor of Music in Jazz Studies, University of Southern California. Thelonious Monk Institute Vocalist, Orange County Music Awards SEZAKI, KATSUYA COURSES: Digital Notation & Arranging, Sight Singing, Harmony & Theory, Ear Training, Apple Logic, Computer Notation, Artist Development, Private Lessons SPECIALTIES: Educator, Arranging, Copyist, Music Transcription, Producing Music Theory, Sight Singing, Vocal Coaching CREDITS: Transcribing for Award winning musical American Heartbeat written & composed by Martha Velez, Temple of the Souls composed by award nominees Dean Landon and Anika Paris. Faye Wong (China) HONORS & EDUCATION: Bachelor of Music in Performance from Musicians Institute, Hiwassee College, Instructor of the Year Award, Outstanding Choir Member Award, National Orchestra Award SHARPE-TAYLOR, DEBORAH COURSES: Jazz Vocals, R&B Vocals, Image Development, Vocal Performance, Private Lessons SPECIALTIES: Vocalist, Voice Instructor, Choral Director, Actor, Recording Artist CREDITS: Michael Jackson, Soul II Soul, The Supremes, Barry White, Andre Crouch, Harry Belafonte. Broadway shows The Wiz, Violet, Little Shop of Horrors. Vocal Director for It Ain t Nothin But The Blues. Appeared on American Idol HONORS & EDUCATION: Bachelor of Science in Telecommunications, Oral Roberts University. Master of Business Administration, University of Phoenix SHEEHAN, COREEN COURSES: Vocal Technique, Vocal Performance, Rock Vocal Styles and Private Lessons SPECIALTIES: Vocal Technique Educator, Vocalist CREDITS: Opener for Foo Fighters and David Lee Roth. Performed with Whole Lotta Rosies, Richie Kotzen, Richie Zito. Winner of LA s Best Rock Vocalist Award. Wrote Vocal Technique Curricula for MI and Rock Vocals instructional book (Hal Leonard). Music consultant for VH series You Rock Conducted workshops at the Grammy Museum and UCLA HONORS & EDUCATION: Musicians Institute graduate; Nominated for the Grammy s Music Educator Award. Vocal Instructor of the Year Award at MI GENERAL 8 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 9

117 GENERAL FACULTY BIOS STANBURY, ASHLEY COURSES: Vocal Performance, Bachelor Private Lessons SPECIALTIES: Acting, Performing, Piano CREDITS: An Irish Christmas Tour, Hollywood Fringe Festival, Long Beach Opera, Los Cancioneros Master Chorale, the Palos Verdes Classical Music Concert Series HONORS & EDUCATION: Bachelor of Music in Vocal Performance from Bob Cole Conservatory at Cal State University, Long Beach STERN, JESSE COURSES: Studio Recording SPECIALTIES: Producer, Multi-Instrumentalist, Vocalist, Recording & Mixing Engineer, Songwriter CREDITS: Jordin Sparks, Sly Stone, George Clinton, Hanson, Chad Smith (Red Hot Chili Peppers), Weezer, Guy Sebastian (Australian Idol winner) HONORS & EDUCATION: Bachelor of Arts in Ethnomusicology, University of Washington Seattle WILLIAMS, BRIAN COURSES: Art of Success, Extreme Vocals, BACH Vocal Performance, Hard Rock LPW, Punk LPW, Private Lessons SPECIALTIES: Rock Vocals, Extreme Vocals, Mimicking Styles, Songwriting, Career Guidance, Performance, Goal Setting and Achievement CREDITS: Vocalist with Racer X, Otto, Damn Hippie Freaks, Commercial Free, Deltanaut (ex-megadeth drummer Nick Menza). TV performances on 0 Superbowl Halftime, Golden Globes, Burn Notice, The Mentalist, Smash, The Life and Times of Tim, Sons of Anarchy HONORS & EDUCATION: Bachelor of Arts, UCLA. Musicians Institute Vocal Program WILSON, CHRISTINA COURSES: BACH Vocal Performance, BACH Private Lessons SPECIALTIES: Composes and Arranges Choral, Classical, Big Band,Traditional & Comtemporary Folk and Americana, Jazz CREDITS: Honey Whiskey Trio, Monterey Jazz Festival, James Moody, Dena DeRose. Opened for Peabo Bryson and Aaron Neville HONORS & EDUCATION: Bachelors Degree in Jazz Studies, Bob Cole Conservatory of Music at Cal State University Long Beach COMMON COURSE DZIUBLA, RON PROGRAM CHAIR, COMMON COURSE DEPARTMENT COURSES: Harmony Theory 0, 0, 0, and 0; Ear Training 0, 0, 0, and 0; Sax Centric LPW SPECIALTIES: Harmony Theory and Ear Training, Live Performance Workshops, Common Course Electives CREDITS: Duane Eddy, Joe Bonamassa, Ricky Martin, Los Straitjackets, Robert Cray, John Hiatt, Royal Crown Revue HONORS & EDUCATION: Bachelor of Music, University of Miami, FL. National Academy of Recording Arts and Sciences ANDERSON, MICHAEL COURSES: Songwriting, Artist Development: The Songs, IAP Project Advising SPECIALTIES: Songwriting, Production, Live Performance, Video CREDITS: Publishing catalogs with Universal, EMI, MCA, etc. Released solo records on A&M Records and EMI HONORS & EDUCATION: Wrote the # country single, Maybe It Was Memphis, also heard on American Idol and the Voice CALLY, MARK COURSES: Intro to Guitar, Artist Development: The Songs SPECIALTIES: Harmony Theory and Ear Training CREDITS: Royal Crown Revue; Music Copyist for TV (Battlestar Galactica), Movies (DeathRace), and Video games (Batman) HONORS & EDUCATION: Guitar study with Jim Hall and Bucky Pizzarelli. Wrote the song Mr. Zoot Suit (Blast From The Past) CARLSON, ERIK COURSES: Harmony Theory and Ear Training, -; Intro to Guitar SPECIALTIES: Harmony Theory and Ear Training, Guitar Performance CREDITS: Toured with Jeff Hershey and the Heartbeats. Montreal Jazz Festival appearance with For the Record: Tarantino in Concert HONORS & EDUCATION: Bachelor of Music from Musicians Institute DESANTIS, MARKO COURSES: Artist Development: The Songs, Artist Development: The Show SPECIALTIES: Instructor, Artist Development CREDITS: Sugarcult (V/Fearless Records). Bad Astronaut (Fat Wreck Chords). Composer for Nickelodeon, MTV Networks HONORS & EDUCATION: Bachelor of Arts, University of California at Santa Barbara CASALE, NICK COURSES: Visual Media &, Promotional Media SPECIALTIES: Graphic Design, Album Art, Promotional Materials, Web Graphics, Logo Creation & Branding, Photo Editing CREDITS: Shirt.Woot, Black Arts Toneworks, Mojo Hand Effects, Hal Leonard Publishing HONORS & EDUCATION: Bachelor of Fine Arts in Graphic Design FORBES, KATERI COURSES: Visual Media and Visual Media SPECIALTIES: Graphic Design and Web Site Design CREDITS: The Smashing Pumpkins, Billy Corgan, Don Bolles, The Strawberry Alarm Clock, Steven Antin, Jesse Dylan, Phillip Atwell, Diane Keaton, Mod/ Op Films, Bonch, Form, Tate USA, Geronimo Films, Maverick Records, Staretone Records, Milan Records HONORS & EDUCATION: Bachelor of Fine Arts in Art Education and Painting with a Minor in Art History, Michigan State University, Kresge Art Center; Compumatics Computer Training Certificate KAMP, TED COURSES: Artist Development: The Songs; Artist Development: The Show; Fundamentals of Lyric Writing SPECIALTIES: Songwriter, Producer, Bass Player. CREDITS: Solo Artist with records charting in the U.S. & Europe. Sideman to artists Shooter Jennings and Wilson Phillips HONORS & EDUCATION: Bachelor of Arts, State University of New York in Binghamton MARGO, KIRK COURSES: Harmony Theory -5 and Ear Training 0-6; Reggae LPW SPECIALTIES: Harmony Theory and Ear Training, LPW CREDITS: Guitarist with Mexican pop-rock singer-songwriter, Gloria Trevi, for five years. HONORS & EDUCATION: Studied composition and music theory at Cal State Northridge. Studied guitar with Ted Greene, Jimmy Wyble FACULTY BIOS RANDALL, ROBIN COURSES: Artist Development: The Songs, IAP Project Advising; Private Keyboard Lessons SPECIALTIES: Songwriting, Keyboard Performance, Harmony & Theory and Ear Training CREDITS: Wrote hits for Starship, Agnetha Faltskog of ABBA, Roxus. Songs written for TV show Baywatch HONORS & EDUCATION: Emmy Judge for the Academy of Television Arts & Sciences, Finalist in the American Idol Songwriting Competition GENERAL 30 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 3

118 GENERAL FACULTY BIOS RICH, ALLAN COURSES: Career Development Counselor SPECIALTIES: Advice on songwriting and the business of songwriting CREDITS: Barbara Streisand, Tina Turner, Rod Stewart, Luther Vandross, Dolly Parton, Patti LaBelle. HONORS & EDUCATION: Two time Academy Award, Grammy, and Golden Globe nominated songwriter. Written songs for Natalie Cole, Whitney Houston SCHIFF, RONNY COURSES: Global Music Marketplace; Career Development Counselor SPECIALTIES: Produces & licenses music books; music programming for airlines CREDITS: Produced books and/or interviewed with Quincy Jones, Herbie Hancock, Pat Metheny, Stevie Ray Vaughan. HONORS & EDUCATION: Avion Awards: Best Airline Music 00; President, California Copyright Conference SIMONS, BRETT COURSES: LPWs, Private Lessons SPECIALTIES: Bassist-Upright and Electric CREDITS: The Beach Boys/Brian Wilson, Melissa Etheridge, Fiona Apple, Liz Phair, Anastacia HONORS & EDUCATION: Bachelor of Music, University of Miami SQUIRE, BARRY COURSES: Starting Your Music Career, Hiring Hall, and Audition Workshops SPECIALTIES: A&R specialist, advising young musicians on getting gigs CREDITS: Client list includes John Mayer, Weezer, Guns N Roses, Kelly Clarkson, Smashing Pumpkins, Justin Timberlake. HONORS & EDUCATION: Teaches Music Business at UCLA Extension. Worked as an A&R exec for Warner Bros., Geffen, and Columbia Records. TORRES, JR., RICARDO COURSES: Artist Development: The Songs; Artist Development: The Show; Rock Repertoire LPW, Coffee House LPW SPECIALTIES: Songwriting, Musical Direction, Guitar, Composition CREDITS: The Smart Set, Supreme Beings of Leisure. Guitarist for the English Beat. Written music for J.C. Penney, MTV HONORS & EDUCATION: Voting member of the National Academy of Recording Arts and Sciences. INDEPENDENT ARTIST DEVELOPMENT CHEMERY, CHARLES INDEPENDENT ARTIST PROGRAM CHAIR COURSE: Artist Identity SPECIALTIES: Vocalist, DJ, Guitarist, Writing, Production CREDITS: Chaka Khan, DJ Sneak, Groove Armada, Joachim Garraud, Manuel Tur, Jesse Rose, Larse, Art Bleek, Zoowax HONORS & EDUCATION: Bachelor of Arts, Berklee College of Music, Dean s List BATES, JONATHAN COURSES: Project Advising, Music Production Workshop, Vocal Production SPECIALTIES: Production, Mixing, Touring, Online Marketing CREDITS: Big Black Delta, Tour guitarist for M83. Remixes: Daft Punk, Britney Spears, Moby HONORS & EDUCATION: Hemlock Grove, Halt And Catch Fire, Six Feet Under, ALDO, Nissan, Project Runway, Bravo, FIFA BROWN, JONATHAN COURSES: Project Advising and Music Production Workshop SPECIALTIES: Music Producer, Engineer, Mixer, Songwriter, and Musician CREDITS: P!nk, Eminem, The Black Eyed Peas, DJ Khalil, Universal Music Publishing, Archwood Music HONORS & EDUCATION: Grammy Nominations, Berklee College of Music CORNE, ERIC COURSES: Recording Project and SPECIALTIES: Sound Engineering, Music Production, Songwriting, Arrangement, Pro Tools, Music Business CREDITS: John Mayall, Lucinda Williams, Joe Bonamassa, Nancy Wilson, True Blood, Underworld HONORS & EDUCATION: Bachelor of Arts in Political Science, NPR Album of the Year Nominee, 0 itunes Blues Song of the Year (Walter Trout) DAYE-ALBERSON, ALEXX COURSES: Vocal Private Lessons, Project Advising, LPW. SPECIALTIES: Vocals, Songwriting, Live/Studio Sessions (Gospel/Blues/Soul/Funk/RnB/Pop/Rock) CREDITS: Patti Labelle, Red Hot Chili Peppers, Christina Aguilera, Ne-Yo, Engelbert Humperdinck HARKNESS, ROBERT COURSES: Music Analysis SPECIALTIES: Producer, Arranger, Engineer, Mixer CREDITS: Kobalt Music, Sony/ATV Music Publishing HONORS & EDUCATION: Bachelor of Music, Music Production & Engineering, Berklee College of Music, Magna Cum Laude NALLEY, JORDAN COURSES: Lab Tech in Studio, Metal LPW, Rock Repertoire LPW, Private Lessons (Vocals) SPECIALTIES: Vocal Instructor, Audio Engineer CREDITS: Vocalist of Fractalline & Behold! the Monolith, Owner/founder of Bodhi Sphere Records HONORS & EDUCATION: Graduate of MI s Vocal, Audio Engineering and Music Business Programs. PARDINI, LAUREN COURSES: Project Advising, Artist Development, Vocal Private Lessons, Bachelor s Vocal Performance SPECIALTIES: Vocal Producer, Vocal Instructor, Songwriter, Singer, Keyboardist, (Hip-Hop, Electronica, Pop) CREDITS: Columbia, Sony/Epic, Island Def Jam, Atlantic, E, MTV, Oxygen, Lifetime, Sony Playstation, HBO HONORS & EDUCATION: NYU, USC POCHON, ARTHUR COURSES: Project Advising SPECIALTIES: Composition, Production, Arranging, Mixing, Performance (Piano and Saxophone), DJ CREDITS: Art Bleek, Ursula Rucker, Fitz & The Tantrums, Zoowax HONORS & EDUCATION: Conservatoire National de Région, Paris, France SALEM, ANTOINE COURSES: Project Advising, Guitar Private Lessons SPECIALTIES: Guitar, Songwriting, Arranging, Production CREDITS: George Clinton, Fugees, Amerie, Lionel Loueke, TV Shows including ABC s Brothers and Sisters HONORS & EDUCATION: Berklee College of Music Graduate FACULTY BIOS GENERAL 3 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

119 GENERAL FACULTY BIOS SHOTTS, DAVID BLAIR COURSES: Project Advising SPECIALTIES: Drum Set Session Player, Percussionist in all styles CREDITS: Rihanna/Drake Grammy performance, Macy Gray, Adam Lambert, Jesse McCartney, DJ Logic, Fishbone HONORS & EDUCATION: MI Certificate in Drum Performance, Grammy Nomination TOUCET, MORALES ERVIN COURSES: Guitar Private Lessons, IAP Project Advising, DJ-Driven LPW, Hip-Hop LPW SPECIALTIES: Production, Songwriting, Arrangement, Music for Film/TV, Live/Studio Sessions (Rock/Latin/Metal/Country Rock) CREDITS: Soundtracks for Resident Evil: Afterlife, And Soon The Darkness. TV shows on Telemundo, Univision HONORS & EDUCATION: MI Guitar Program Graduate with Honors VATCKY, GISA COURSES: Vocal Instructor, Project Advising SPECIALTIES: Vocals, Background Vocals CREDITS: David Foster, Enrique Iglesias, Santana, Andrea Bocelli, Luis Miguel, Juan Gabriel HONORS & EDUCATION: Bachelor of Music, Metropolitan University of Educational Sciences & ProJazz Music Academy (Santiago, Chile) WALTER, KATHLEEN COURSES: Vocal Private Lessons, IAP Project Advising, LPWs SPECIALTIES: Vocals CREDITS: Rob Hoffman, Griffin Boice, Dave Aude, Eddie Galan, Chase Foster HONORS & EDUCATION: Bachelor of Music, Belmont University Lester Sill Songwriters Workshop WEATHERSPOON, JOSH COURSES: Ableton Live Instructor, Project Advising SPECIALTIES: Music Production, Recording, Mixing, Editing, Arranging, Remixing, Live Performance CREDITS: Transworld Snowboarding s The Nation, Giorgio Moroder HONORS & EDUCATION: Bachelor of Arts, University of North; Ableton Certified Trainer DJ PERFORMANCE & PRODUCTION CHEMERY, CHARLES DJ PERFORMANCE & PRODUCTION PROGRAM CHAIR SPECIALTIES: Vocalist, DJ, Guitarist, Writing, Production CREDITS: Chaka Khan, DJ Sneak, Groove Armada, Manuel Tur, Jesse Rose, Larse, Art Bleek, Zoowax HONORS & EDUCATION: Bachelor of Arts, Berklee College of Music, Dean s List BELL, MARK COURSES: Beat Matching, Traktor, Set Building, Project Advising SPECIALTIES: Production, Arranging, Composition, Mixing, DJing, Logic CREDITS: Chaka Khan, New Order, Paul Oakenfold, M-People, A Tribe Called Quest, Jamiroquai, Moloko, Manuel Tur, DJ Sneak, Doc Martin HONORS & EDUCATION: Mercury Award winner HARRIS, LACEY COURSES: Beat Matching, Traktor, Serato, History of Recorded Popular Music, Project Advising, DJ Tech, DJ Tech SPECIALTIES: DJing, Production CREDITS: DJ Colette, Concurrent Recordings HONORS & EDUCATION: UCLA, Musicians Institute FREDERICKS, TERENCE COURSES: Ind. DJ Workshop, Turntablism, DJ-Driven and Hip Hop LPWs, Set Building, other DJ courses SPECIALTIES: As DJ Jedi, has appeared in Russell Simmons Def Poetry Jam, Digable Planets, dakah Hip Hop Orchestra CREDITS: Emmy Award-winning DJ. Nominated for the L.A. Weekly Theatre awards and the NAACP awards for the musical BASH D. POCHON, ARTHUR COURSES: IAP Project Advising SPECIALTIES: Composition, Production, Arranging, Mixing, Performance (Piano and Saxophone), DJ CREDITS: Art Bleek, Ursula Rucker, Fitz & The Tantrums, Zoowax HONORS & EDUCATION: Diploma, Conservatoire National de Région, Paris, France WEATHERSPOON, JOSH COURSES: Ableton Live Instructor, Project Advising SPECIALTIES: Music Production, Recording, Mixing, Editing, Arranging, Remixing, Live Performance CREDITS: Transworld Snowboarding s The Nation, Giorgio Moroder HONORS & EDUCATION: Bachelor of Arts, University of North Texas; Ableton Certified Trainer AUDIO ENGINEERING NEWKIRK, JONATHAN DEAN OF ENTERTAINMENT INDUSTRY STUDIES, PROGRAM CHAIR OF AUDIO ENGINEERING SPECIALTIES: Responsible for instructor performance and providing ongoing curricular development. CREDITS: Dishwalla, Slash, Roger Daltry, Epitaph Records, Carmine Appice HONORS & EDUCATION: Executive MBA (EMBA) from USC. ASTOR, ERIC COURSES: Live Sound Applications, Intro To Live SPECIALTIES: Live FOH Engineer, Recording/Mix Engineer, Guitarist CREDITS: Temple Bar, BB Kings, Canyon Club, The Temptations, Mishka, Lorraine Feather, Manhattan Transfer HONORS & EDUCATION: Bachelors of Music in Sound Recording Technology, Bachelors of Arts in Jazz Studies (Guitar) BARBER, JAMES COURSES: Mixing and Mastering, Recording Techniques, Console Operation, The Business of Audio SPECIALTIES: Engineer, Writer, Composer for Television/Movies, Singer, Video Broadcast CREDITS: Earth Wind and Fire, Phil Collins, Busta Rhymes, Mary J. Blige, KRS-One, Proud Family (Disney), Girlfriends (Fox), King of Queens (CBS) HONORS & EDUCATION: Aassociate of Arts Degrees, Avid Certified, Gold and Platinum Records, Grammy Nominated. BINIKOS, MICHAEL COURSES: Console Operation I and II, Pro Tools SPECIALTIES: Record Producer, Engineer, Writer and Arranger CREDITS: LeAnn Rimes, Snoop Dogg, Brie Larson, Kane West, The Grammys, Jon Secada, Tanya Tucker FACULTY BIOS HONORS & EDUCATION: Represented by the CAA agency 3 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, GENERAL

120 GENERAL FACULTY BIOS HAWKINS, KRISTOPHER BLAISDELL, THEODORE COURSES: Console Operation III Venue and Yamaha, Live Recording and Mixing SPECIALTIES: Large Ensemble Acoustic Recording/Mixing, Live Concert FOH Mixing CREDITS: Alanis Morisette s Jagged Little Pill, Quincy Jones and over 50 Feature Film Scores HONORS & EDUCATION: Multiple Platinum Albums, Three Grammy Awards including Best Engineered and Record of the Year BUCKLEY, FRANCIS COURSES: Mixing and Mastering, Console Operation, Signal Processing SPECIALTIES: Mixing Engineer, Producer, Educator CREDITS: Quincy Jones, Alanis Morissette, Aerosmith, Celine Dion, Black Flag HONORS & EDUCATION: Aassociate of Arts Degree Music, Multiple Gold and Platinum records, Grammy Award for Best Engineering Quincy Jones Q s Jook Joint. CROSS, MARK COURSES: Intro to Post Production, Mixing for Film SPECIALTIES: Producer, Composer, Mixer, Author, Educator CREDITS: Randy Newman, James Newton Howard, Bill Bottrell, Shelby Lynne, Linda Perry, ER, Third Watch HONORS & EDUCATION: Bachelor of Science in Music Production from Berklee, Gold and Platinum records, nominated for an Academy Award DE TOGNI, MAURIZIO COURSES: Avid Pro Tools 0/0, Apple Logic & SPECIALTIES: Composer for TV, Mentor to Grammy-winning producers, Pro Tools/Logic Pro Guru, Author CREDITS: Paramount Studios, J.Valentine & J.Carmichael (Maroon 5), UCLA, Stanford, John Lennon ETB, MacWorld HONORS & EDUCATION: Logic Pro X Certified Pro/Trainer, Certified Pro Tools HD Expert/Instructor (6 certifications). DOLD, MARC COURSES: Beat Making and Maschine Logic I, Music Composition SPECIALTIES: Producer, Writer, Performer, Programmer CREDITS: Swiss American Federation, Paul Van Dyke, Erasure, Enya, Nelly Furtado, Céline Dion, Alice Cooper HONORS & EDUCATION: Electronics Degree, B.A. from the Conservatory of Zürich. Masters in Music, Berklee College of Music FIORELLO, JOE COURSES: Stage & Tour Management, Intro to Live, Event Productions, Cons Op SPECIALTIES: Production Manager, Live Sound Mixer, Studio Engineer, Broadcast Engineer, Composer, Producer CREDITS: House Of Blues/Live Nation, Etta James, Kool & The Gang, Public Enemy, XTC HONORS & EDUCATION: Graduate of OMEGA Recording, IBEW, Certified Avid, Yamaha, Euphonix HAINER, GREGORY COURSES: Audio For Video Games, Post Essentials, ADR Voice Over & Dialogue Forensics, Pro Tools, Intro to Post SPECIALTIES: Post Sound Editorial, Sound Design, 5. Mixing, Voice Over, Music Production, Music Synthesis CREDITS: Warner Bros., Walt Disney, Universal Studios, Soundelux Todd-AO, Microsoft, Activision, EA, SCEA HONORS & EDUCATION: Berklee College Of Music, MP&E Academic Scholar, 5 Golden Reel Awards, TEC Nomination, BMA HASSINE, MEHDI COURSES: Pro Tools, Mixng for film, Mixing and Mastering SPECIALTIES: Music Production and Sound Supervision for Film & TV CREDITS: Sigur Rós, Dave Weckl, Disney International, PBS HONORS & EDUCATION: Master of Science Electro-Optical Engineering, Member of NARAS and AES, Three-time MI Instructor of the Year winner COURSES: Logic, Business of Audio, Recording Theory SPECIALTIES: Producer, Engineer, Songwriter, Guitarist CREDITS: Greg Phillinganes (Michael Jackson), Kirk Covington (Tribal Tech), Alex Evans (Patti Labelle), Bow Wow Wow HONORS & EDUCATION: Johannes School of Music HELMERICH, TODD COURSES: Console Operations, Signal Processing, Mixing Essentials SPECIALTIES: Engineer, Producer, Shrapnel Recording Artist, Guitarist, Vocalist CREDITS: Stanley Clark, Ronnie Wood, Victor Wooten, Zappa Plays Zappa, Virgil Donati HONORS & EDUCATION: Grammy Nominee HUMPHREY, CARTER COURSES: Recording Theory, Sound Reinforcement, Recording Techniques SPECIALTIES: Engineer, Mixer, Producer CREDITS: Brian Wilson of the Beach Boys, Rod Stewart, Julie Andrews, Queen Latifah HONORS & EDUCATION: Bachelor of Music Recording from USC. Grammy Nominated and awarded for Rod Stewart s American Songbook series of albums ISAAC, DAVID COURSES: Music Production SPECIALTIES: Music Producer, Mix Engineer, Musician, Composer CREDITS: Marcus Miller, Prince, Michael Jackson, Eric Clapton, Whitney Houston HONORS & EDUCATION: 3 Grammy awards, multiple Gold & Platinum records KAGAN, ADAM COURSES: Practical Recording, Console Op SPECIALTIES: Engineer, Mixer, Producer, 5. Mixing for Film, Studio Designer CREDITS: Gladys Knight, Kanye West, Usher, Elton John, Jeff Beck, Disney s High School Musical, EA Sports HONORS & EDUCATION: Engineered or produced 5+ Grammy Nominated and Gold and Platinum albums. B.A. University of Miami NONISA, MARK COURSES: Practical Recording, Musicianship, Console Operations SPECIALTIES: Engineer, Producer CREDITS: Babyface, film soundtrack Have Plenty, Basix HONORS & EDUCATION: Graduated with Honors from Musicians Institute, 3 decades in the industry PEREZ, SHAUN COURSES: Pro Tools, Console Operation III: Icon and Euphonix, Logic SPECIALTIES: Engineer, Producer CREDITS: Anthony Kilhoffer (Kanye West, Eminem), Jamie Foxx, Max Weinberg, Assemble the Skyline HONORS & EDUCATION: Pro Tools Certified Instructor, Apple Logic Certified Pro, Waves Gold certified RASHID, ORLANDO COURSES: Field Recording, Signal Processing, Console Op SSL, Intro to Post SPECIALTIES: Field Recordist, engineer, songwriter CREDITS: Jamie Foxx HONORS & EDUCATION: Experienced audio engineer and producer whose credits include local and international bands FACULTY BIOS GENERAL 36 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

121 GENERAL FACULTY BIOS TOWNER, EDWARD REID, MIKAL COURSES: Mixing and Mastering, Console Operations, Practical Recording SPECIALTIES: Engineer, Producer, Songwriter CREDITS: Mick Jagger, Ben Harper, Brother Cane, Bo Bice, Kenny Wayne Sheppherd, Dynamite Walls HONORS & EDUCATION: Wrote & produced for Dr Phil show, producer/engineer for Flock of Seagulls RUDOLPH, BARRY COURSES: Project Studio Design SPECIALTIES: Engineer, Producer, Journalist CREDITS: Lynyrd Skynyrd, Hall and Oates, Pat Benatar, Rod Stewart, The Corrs, Keith Moon HONORS & EDUCATION: Associate of Arts and Bachelor of Science degrees, Avid Certified Instructor, Gold and Platinum records, Grammy Awards. RYAN, MARK COURSES: Music Editing, Intro to Post SPECIALTIES: Engineer, Editor CREDITS: Planet Hulk, Liar Liar, Matilda, Major League, Agents Of S.H.I.E.L.D., X-Men, Spiderman, Avengers HONORS & EDUCATION: Two Golden Reel Awards, B.A. in Music SALTZMAN, STEVEN COURSES: Music Editing SPECIALTIES: Music Editor, Composer, Avid Expert, Certified Pro Tools Instructor, Author CREDITS: Sony, MGM, Paramount, 0th Century Fox, Warner Bro., Klaus Badelt, Mark Mothersbaugh, Nathan Furst HONORS & EDUCATION: Bachelor of Music in Composition and Film Scoring, Berklee College of Music. Golden Reel Awards. SCHWALBE, SOLANGE COURSES: Dialogue Editing, Foley Editing, Background Editing, Sound FX Editing SPECIALTIES: Motion Picture Sound Editor in Feature Films CREDITS: 6 Feature Credits: since 98 HONORS & EDUCATION: Emmy Best Sound Editing for HBO s John Adams, MPSE Golden Reel Award, Emmy Nominations SILVA, RICK COURSES: Practical Recording, Console Operation I SPECIALTIES: Audio Source Separation, Spectral & Forensic Audio, ADX Technology, Owner of Mixed Emotions Productions CREDITS: Warner Bros, UMG, Sony, Disney, NBC, CBS, Hans Zimmer, Rod Stewart, Natalie Cole, Dweezil Zappa HONORS & EDUCATION: Berklee College, Best of Show NAMM 0, Waves Certification Trainer, AES STAUB, NICHOLAS COURSES: Field Recording SPECIALTIES: Production and postproduction sound engineering, film scoring. CREDITS: Nissan, Microsoft, Mattel, Disney, Universal Music, BBC, Direct TV. TESTAI, JOSEPH COURSES: Musicianship, Pro Tools, Console Operation SPECIALTIES: Engineer, Guitar Player, Producer CREDITS: Dweezil Zappa, Dennis Chambers, Virgil Donati, Jeff Bowders, Sigur Ros HONORS & EDUCATION: 30+ years in the industry COURSES: Console Operation I, Reason I & II, Critical Listening SPECIALTIES: Mixing Engineer, Producer, Songwriter CREDITS: HBO Documentary Bastards Of The Party, Darius McCrary, Tank, Glasses Malone HONORS & EDUCATION: Musician Institute Audio Engineering Instructor Of The Year WANG, JONATHAN COURSES: Pro Tools 0 & 0, Electronics SPECIALTIES: Mixer, Engineer, Programmer, Guitarist CREDITS: Daryl Black (aka Dez Phoenix), Nikki Forova, Barrett Wilson (Fear and the Comedy) HONORS & EDUCATION: Bachelor of Science in Computer Engineering, BS Electrical Engineering, BA Guitar Performance WAY, JASON COURSES: Console Operation I: Neve, Recording Techniques SPECIALTIES: Engineer, Guitarist CREDITS: Gravity Guild HONORS & EDUCATION: 5 years in the industry ZAWINUL, IVAN COURSES: Intro to Live Sound, Business of Audio, Console Operations, Monitor Operations, Recording Theory / Techniques SPECIALTIES: Live Sound Engineer (F.O.H, Monitors), Producer, Studio Engineer, Production Manager, Sound Consultant CREDITS: The Zawinul Syndicate, Weather Report, Salif Keita, Stan Getz, Carlos Santana, Miles Davis, Joe Zawinul, Kenny Burrell HONORS & EDUCATION: Recognized N.A.R.A.S Engineer, Avid Certified, Produced and Engineered Grammy-nominated albums, Engineered Live shows in over 90 countries MUSIC BUSINESS TURNER, STACY MUSIC BUSINESS PROGRAM CHAIR SPECIALTIES: A&R/Independent Consultant, Management/Representation, Talent Development, Production Coordination CREDITS: A&R Director, Quincy Jones/Qwest Records; Tamia, Tevin Campbell, Patti Austin, Andraé Crouch; Rex Rideout, Ledisi HONORS & EDUCATION: Associate Member of the Recording Academy, Grammy Certificates (nominated albums/artists), USC, California State Univ. at Long Beach and Northridge. AMICONE, MICHAEL COURSES: Media Relations, News & Industry Trends SPECIALTIES: Editor, Journalist, Media Personality, Reissue Producer, Teacher. CREDITS: Billboard Bulletin, UMG s farmclub.com, Music Connection, Elton John liner notes, Nilsson track list HONORS & EDUCATION: Littleford Award (Billboard Bulletin) and NARM Award (Billboard Bulletin) FACULTY BIOS BAUR, LES BERNARD COURSES: Music Distribution, Broadcast Strategies, Sponsorships & Endorsements, Showcase Promotions, Start & Run Your Own Record Label, Music Business Basics, Music Industry, Music Industry 3A SPECIALTIES: Consultant, Editor, Writer, Author, Artist Relations, Marketing & Media, Educator CREDITS: Music Connection, Bill Graham, Warner Bros., Guns N Roses, SOAD, No Doubt, Matchbox Twenty, Janis Joplin HONORS & EDUCATION: Bachelor of Arts, San Francisco State University; J.D., Lincoln Law School; Journalism Awards (NARIP & LAMA) GENERAL 38 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30,

122 GENERAL FACULTY BIOS BORG, BOBBY COURSES: Independent Artist Marketing, Applied Entertainment Business and, Computers in Music Business, Computer Tech Music Business Applications, The Business of Working Musicians, Intro To Music Publishing Specialties: Helping Music Business Professionals Turn Their Art Into a More Successful Business. CREDITS: Member (Warrant / Beggars & Thieves), Author (Musician s Handbook, Marketing For DIY Musicians), VP of AMA. HONORS & EDUCATION: Berklee (Performance), UCLA (Marketing / Project Management / Instructor Development), and CBEST Certified. COLLIN, BARBARA COURSES: Agents & Bookings SPECIALTIES: Talent Agent representing national and international recording and touring artists. CREDITS: ICM, Agency for the Performing Arts, John Levy Enterprises, President of Collin Artists HONORS & EDUCATION: Bachelor of Arts in Interdisciplinary Creative Arts, Teaching Credential DAHUD, HISHAM COURSES: Digital Marketing, Business Writing SPECIALTIES: Digital Strategy Director, Music x Tech Strategist, Drummer/Composer CREDITS: Fame House, Richie Hawtin, DJ Shadow, Junkie XL, Pretty Lights, Loco Dice, Beatport, UMG HONORS & EDUCATION: B.S. Marketing / Music Industry Studies, San Francisco State University ESRA, RITCH COURSES: Record Labels, Your Music Business Career, News & Industry Trends SPECIALTIES: Publisher, Music Business Registry (contact information for the music industry); Educator CREDITS: Major & indie companies for Music Registry; Clive Davis/Arista Records, A&R; A&M Records, Promotions FLETCHER, CHRIS COURSES: Personal Management/Personal Management & The Artist s Team, Getting Gigs, The Touring Musician, Making Money in New Music Markets, Planning Your First Tour SPECIALTIES: Management/Artist Development, Touring, Booking (colleges & festivals), Endorsements/Sponsorships CREDITS: Harold Payne, Faith Rivera (Emmy Winner), BB Chung King, Wonderboy, The Ravyns, Affinity Records HONORS & EDUCATION: Bachelor of Arts in Business Administration, Temple University. Certificates, CA Arts Council & Western Arts Alliance. NACA member. GRIERSON, DON COURSES: Record Labels, Your Music Business Career, Start & Run Your Own Record Label, Music Industry SPECIALTIES: Music Industry Consultant, Music Supervisor for independent films, Advisory Board for MusicBizPro CREDITS: Capitol/EMI, Epic/Sony, Celine Dion, Tina Turner, Cyndi Lauper, Gloria Estefan, Joe Cocker, Duran Duran HONORS & EDUCATION: Golden Apple Award (The Beatles), Recording Academy member, co-author of It All Begins With The Music JONES, JR., THORNELL COURSES: Digital Marketing, Independent Artist Marketing, Music Business Marketing & Social Media - 5 SPECIALTIES: Product Development and Marketing, Branding and Artist Development CREDITS: Jill Scott, Diana Ross, Mint Condition, Sounds of Blackness, RML TV Series HONORS & EDUCATION: Voting Member of The Recording Academy, 3 Grammy Certificates, B.A. Economics Wesleyan University KIMPEL, DAN COURSES: Networking Strategies, Business Writing, Leadership, Management and Business Skills -, Artist Identity SPECIALTIES: Author of six books, Interviewer, Music Journalist, Editor CREDITS: Lecturer at Liverpool Institute for Performing Arts (UK), ESP Musical Academy (Tokyo), ASCAP EXPO HONORS & EDUCATION: Chairman of the Board: The Musicians Foundation, Special Friend, Society of Composers & Lyricists (SCL) KOÇ, SUZAN COURSES: Music Publishing, Music Publishing & Licensing SPECIALTIES: Music Publishing, International Music Publishing, Songwriting Coach, Song Plugger CREDITS: Worked at Warner Chappell France, Hit & Run NY&LA, BMG, Taxi Music, worked with songwriters Shelly Peiken (Grammy Nominee), Wally Gagel, Xandy Barry, Jean Baptiste, busbee, David Gamson (Grammy Nominee) HONORS & EDUCATION: Bachelor in Law, Université de Genève LOUIS, KARL COURSES: Personal Management/Personal Management & The Artist s Team, Music Distribution, Social Media & Fan Management SPECIALTIES: Personal Management, A&R, Artist Development, Marketing, Distribution, Promotions, TV/Film Synch CREDITS: Warren Entner Mgmt (Rage Against The Machine, Deftones, Faith No More), Flip Records (Limp Bizkit, Staind) MERRIFIELD, ROBERT COURSES: Music Licensing and Supervision SPECIALTIES: Digital Music/Media Consultant (Music Rights, Licensing and Distribution) CREDITS: Companies: NBC Universal, the Orchard, emusic Artists: Jackie Jackson (Jackson 5, the Jacksons) HONORS & EDUCATION: Hunter College CUNY (B.S. in Media Studies, Graduated Cum Laude) FACULTY BIOS MEZA, AARON COURSES: Music Publishing, Music Licensing and Supervision, The Business of Composing and, Music Publishing & Licensing, 3 and SPECIALTIES: Owner of Amazon Ear Productions, Meza Music Publishing (ASCAP), Voice Talent and Narrator CREDITS: Former Director American Guild of Authors & Composers, author of You ve Written A Song, So Now What? HONORS & EDUCATION: Bachelor of Arts, UCLA; Certificates, USC Law Center & UCLA Extension. Cindy, Aurora & Telly Awards. Clifton Webb Endowment MORGAN, BURGUNDY COURSES: Music Law, Owning and Operating A Music Business SPECIALTIES: Music Law, Music Contracts, Music Business, Litigation. Former Professional Musician. CREDITS: Grammy-winning artists, songwriters & producers. Performs with Riddle the Sphinx. HONORS & EDUCATION: J.D., Pepperdine Univiversity. Member of State Bar of CA & U.S. District Court. B.A., William Paterson University. NATHAN, ROBERT COURSES: Music Law/Music Law and Contracts,, and 3, Owning & Operating a Music Business, Preparing Your Professional Business Plan, Music Law Basics, Accounting and Finance SPECIALTIES: Legal aspects of the music industry focusing on trademarks, copyrights, publicity rights, & contract law CREDITS: Motley Crue, Cheap Trick, Temptations, Stray Cats, Kool & The Gang, Asia, SBK Records, Bud Grant Productions HONORS & EDUCATION: Bachelor of Science, Columbia College. UCLA Research Fellowship. GENERAL 0 THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07.

123 FACULTY BIOS GUITAR CRAFT ROBERTS, PAUL GUITAR CRAFT PROGRAM CHAIR SPECIALTIES: Program Chair of Guitar Craft Program, Luthier, Guitar Technician CREDITS: Joe Bonamassa, Ry Cooder, Fleetwood Mac, Ben Harper, Billy Gibbons, Andy Summers, Jackson Browne HONORS & EDUCATION: Worked with master luthier John Carruthers & guitar builder James Tyler ALONZO, LANCE COURSES: Instrument Design &, Instrument Fabrication &, Fretwork and Setup &, Electronics &, FinishWork SPECIALTIES: Luthier, Guitar Technician HONORS & EDUCATION: Certificate in Guitar Craft, Musicians Institute BARAJAS, RAFAEL COURSES: Instrument Design &, Instrument Fabrication &, Fretwork and Setup &, Electronics &, Finish Work, Instrument Repair SPECIALTIES: Guitar Painter, Luthier CREDITS: Carruthers Guitars, James Tyler Guitars, Schecter USA Custom Shop, Yamaha HONORS & EDUCATION: Certificate of Guitar Craft Musicians Institute, PPG solvent and water bourne paint certified GENERAL MADDUX, DAVID COURSES: Instrument Design &, Instrument Fabrication &, Fretwork and Setup &, Finishwork SPECIALTIES: Fender American Design Specialist CREDITS: Worked on The Fender Bass, An Illustrated History HONORS & EDUCATION: Fender Custom Shop Supervisor, Fender Senior Quality Insurance Inspector GENERAL SANDOVAL, JAIME COURSES: Instrument Design &, Instrument Fabrication &, Fretwork and Setup &, Electronics &, Instrument Repair, Acoustic Guitar Design, Acoustic Guitar Fabrication, Acoustic Guitar Fixtures, Acoustic Guitar Finishing SPECIALTIES: Luthier, Guitar Technician CREDITS: Matchless Amplifiers HONORS & EDUCATION: Certificate of Guitar Craft Musicians Institute, Machining Program L.A. Trade Tech JANG, ISAAC COURSES: Acoustic Guitar Design, Acoustic Guitar Fabrication, Acoustic Guitar Fixtures, Acoustic Guitar Finishing SPECIALTIES: Luthier, Guitar Technician CREDITS: Tommy Emmanuel, David Crosby, The Doobie Brothers HONORS & EDUCATION: Kathy Wingert Guitars, Bryan Galloup School of Lutherie THIS CATALOG APPLIES TO ACADEMIC YEAR 06/07: OCTOBER, 06 - SEPTEMBER 30, 07. 3

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